Chinese Palace Size Pheonix, Dragon, Bat, Peach, Fu Shou Porcelain Vases, Qing

Description

A monumental & Important pair of Chinese palace-size porcelain vases, produced during the Qing Dynasty, circa 1870. These vases are decorated entirely in overglaze famille rose enamels, employing a soft yet vibrant palette of turquoise, pink, aubergine, yellow, Henna and iron red. Each vase is of tall baluster form with a wide trumpet-shaped mouth and applied chilong-form handles in light blue enamel rising vertically from the neck to the shoulder. The composition is divided into three principal decorative registers: figural scenes at the neck, symbolic motifs across the central body, and imperial dragon imagery around the base. The necks of the vases are painted with figural reserves set against an iron-red floral scroll ground. On one vase, the reserve depicts a high-foreheaded elderly figure standing in a garden landscape, accompanied by two young boys. A large fruiting peach tree rises behind him, beneath which two white cranes are placed—both traditional symbols of longevity. The tree’s branches extend into the upper border, where a pair of parrots perch, while a stylized dragon head sits prominently below the scene, centered between the chi-dragon handles. On the second vase, the reserve features a different composition: an elderly man dressed in purple robes, surrounded by several children in colorful garments, one of whom holds a scroll. This figure is not accompanied by animals or divine attributes and is associated with the theme of “children at play,” symbolizing prosperity, fertility, and generational abundance. Both figural panels are enclosed within cartouche frames of iron-red lotus scrolls and are flanked symmetrically by pierced chilong-form handles. The shoulder of each vase is decorated with a wide ruyi-head border, painted in pastel enamels with alternating colors and floral patterns. Each ruyi panel contains stylized blooms, including chrysanthemums with radiating petals, four-petaled blossoms, and composite flowers, all surrounded by scrolling foliage and floral sprigs against a turquoise ground. These floral designs are densely arranged and show elements of both naturalistic and schematic floral rendering. Beneath the ruyi band is a wide frieze of circular medallions enclosing phoenixes and five-clawed dragons, each painted in iron red with white accents and fine detail. These roundels are spaced evenly and separated by tied ribbon motifs suspending fruiting sprays of peaches. The midsection of the vase is filled with an iron-red/Henna color floral ground, populated by large peony blossoms and acanthus-like leaves in continuous scrollwork. Within this field are four large circular medallions inscribed in black enamel with auspicious characters including 壽 (longevity), 福 (blessing), 雙 (double), and 全 (completeness), each surrounded by a blue enamel ring. The repetition and arrangement of these characters convey wishes for health, happiness, harmony, and abundance. The lower register of each vase features a panoramic scene of Nine Dragons Playing with the Pearl (九龙戏珠), set against a sea-green wave ground. Nine five-clawed imperial dragons, rendered in various enamel colors—iron red, white, green, and aubergine—are depicted coiling through clouds and waves in pursuit of flaming pearls. Each dragon is intricately detailed, with scaled bodies, articulated claws, and flames issuing from their limbs and tails. The pearls are painted with fire-scroll motifs and are spaced throughout the register. This decorative scheme reinforces imperial symbolism, evoking power, cosmic balance, and celestial protection. These vases were most likely produced at the Jingdezhen kilns during the late Qing period, under the Tongzhi or early Guangxu reigns, when monumental porcelain works were made for elite patrons and ceremonial display. While unmarked, the scale, figural themes, and execution align with high-quality domestic wares from this period. The use of famille rose enamels—first developed during the early 18th century—remained dominant into the 19th century, enabling precise figural and symbolic decoration across large surfaces. The inclusion of both Daoist immortals and secular auspicious themes reflects Qing dynasty values rooted in longevity, prosperity, and dynastic continuity. Both vases are structurally sound and retain their applied elements. Areas of minor enamel wear and glaze imperfections are consistent with age and scale. The decoration remains vibrant and intact across all three registers. This pair represents a rare and fully developed example of large-format porcelain production during the final decades of Qing rule. Height: 33.5"

Details

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