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Pair of lidded rhomboid vases; China, Jiaping period (1796-1820).Porcelain, pink family.
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Beschreibung
Pair of lidded rhomboid vases; China, Jiaping period (1796-1820).
Porcelain, pink family.
Measurements: 34 x 18 x 11 cm.
Following the trend that Portugal had already started in the 16th century, most European countries began to develop an interest in Chinese porcelain, which soon became a real fashion. In the 17th century, Holland took the monopoly of the trade routes from Portugal, and throughout the 18th century, England, France, Sweden and Denmark began to demand these sought-after pieces, as they gained greater freedom to trade with the East by sea. As a result, from the 18th century onwards and coinciding with the reigns of the Yongzheng, Qianlong and Jiaqing emperors, the volume of Chinese porcelain ordered from Europe increased considerably, making "export porcelain" one of the most important sources of income for the Chinese economy at the time. It was precisely at this time that all kinds of shapes and designs began to be in demand from Europe, combining Western models with other Chinese ones: vases, figurines, tableware, toilet articles, etc., which placed the exquisite and hitherto enigmatic material of porcelain in the different areas of the everyday life of the European elite. Gradually, in Europe, a taste for Chinese genre decoration developed in parallel.
Undoubtedly closely linked to the growing interest in the Oriental world and exoticism, Rococo art experimented with and interpreted the "chinoiseries" for the decorative arts. In this prolific context, therefore, it is not difficult to understand the original rhomboidal shape of the curious pair of vases presented here. In keeping with its time, the dense decoration of this original pair of vases began to be used from 1760 onwards and was in great demand on the English market. Its striking colours, overlapping gilt latticework and the minuteness of its palatial Chinese scenes became the hallmarks of a style now known as 'Mandarin'. This decorative style was frequently copied by Western factories and remained popular until the first half of the 19th century. Such was the fashion of the time that even European wallpaper reproducing so-called 'mandarin scenes' has survived to the present day. A punch bowl from the same period with similar decoration to ours can be found in the Victoria & Albert Museum in London. Inventory no. C. 89-1912.
Porcelain, pink family.
Measurements: 34 x 18 x 11 cm.
Following the trend that Portugal had already started in the 16th century, most European countries began to develop an interest in Chinese porcelain, which soon became a real fashion. In the 17th century, Holland took the monopoly of the trade routes from Portugal, and throughout the 18th century, England, France, Sweden and Denmark began to demand these sought-after pieces, as they gained greater freedom to trade with the East by sea. As a result, from the 18th century onwards and coinciding with the reigns of the Yongzheng, Qianlong and Jiaqing emperors, the volume of Chinese porcelain ordered from Europe increased considerably, making "export porcelain" one of the most important sources of income for the Chinese economy at the time. It was precisely at this time that all kinds of shapes and designs began to be in demand from Europe, combining Western models with other Chinese ones: vases, figurines, tableware, toilet articles, etc., which placed the exquisite and hitherto enigmatic material of porcelain in the different areas of the everyday life of the European elite. Gradually, in Europe, a taste for Chinese genre decoration developed in parallel.
Undoubtedly closely linked to the growing interest in the Oriental world and exoticism, Rococo art experimented with and interpreted the "chinoiseries" for the decorative arts. In this prolific context, therefore, it is not difficult to understand the original rhomboidal shape of the curious pair of vases presented here. In keeping with its time, the dense decoration of this original pair of vases began to be used from 1760 onwards and was in great demand on the English market. Its striking colours, overlapping gilt latticework and the minuteness of its palatial Chinese scenes became the hallmarks of a style now known as 'Mandarin'. This decorative style was frequently copied by Western factories and remained popular until the first half of the 19th century. Such was the fashion of the time that even European wallpaper reproducing so-called 'mandarin scenes' has survived to the present day. A punch bowl from the same period with similar decoration to ours can be found in the Victoria & Albert Museum in London. Inventory no. C. 89-1912.
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Pair of lidded rhomboid vases; China, Jiaping period (1796-1820).
Porcelain, pink family.
Measurements: 34 x 18 x 11 cm.
Following the trend that Portugal had already started in the 16th century, most European countries began to develop an interest in Chinese porcelain, which soon became a real fashion. In the 17th century, Holland took the monopoly of the trade routes from Portugal, and throughout the 18th century, England, France, Sweden and Denmark began to demand these sought-after pieces, as they gained greater freedom to trade with the East by sea. As a result, from the 18th century onwards and coinciding with the reigns of the Yongzheng, Qianlong and Jiaqing emperors, the volume of Chinese porcelain ordered from Europe increased considerably, making "export porcelain" one of the most important sources of income for the Chinese economy at the time. It was precisely at this time that all kinds of shapes and designs began to be in demand from Europe, combining Western models with other Chinese ones: vases, figurines, tableware, toilet articles, etc., which placed the exquisite and hitherto enigmatic material of porcelain in the different areas of the everyday life of the European elite. Gradually, in Europe, a taste for Chinese genre decoration developed in parallel.
Undoubtedly closely linked to the growing interest in the Oriental world and exoticism, Rococo art experimented with and interpreted the "chinoiseries" for the decorative arts. In this prolific context, therefore, it is not difficult to understand the original rhomboidal shape of the curious pair of vases presented here. In keeping with its time, the dense decoration of this original pair of vases began to be used from 1760 onwards and was in great demand on the English market. Its striking colours, overlapping gilt latticework and the minuteness of its palatial Chinese scenes became the hallmarks of a style now known as 'Mandarin'. This decorative style was frequently copied by Western factories and remained popular until the first half of the 19th century. Such was the fashion of the time that even European wallpaper reproducing so-called 'mandarin scenes' has survived to the present day. A punch bowl from the same period with similar decoration to ours can be found in the Victoria & Albert Museum in London. Inventory no. C. 89-1912.
Porcelain, pink family.
Measurements: 34 x 18 x 11 cm.
Following the trend that Portugal had already started in the 16th century, most European countries began to develop an interest in Chinese porcelain, which soon became a real fashion. In the 17th century, Holland took the monopoly of the trade routes from Portugal, and throughout the 18th century, England, France, Sweden and Denmark began to demand these sought-after pieces, as they gained greater freedom to trade with the East by sea. As a result, from the 18th century onwards and coinciding with the reigns of the Yongzheng, Qianlong and Jiaqing emperors, the volume of Chinese porcelain ordered from Europe increased considerably, making "export porcelain" one of the most important sources of income for the Chinese economy at the time. It was precisely at this time that all kinds of shapes and designs began to be in demand from Europe, combining Western models with other Chinese ones: vases, figurines, tableware, toilet articles, etc., which placed the exquisite and hitherto enigmatic material of porcelain in the different areas of the everyday life of the European elite. Gradually, in Europe, a taste for Chinese genre decoration developed in parallel.
Undoubtedly closely linked to the growing interest in the Oriental world and exoticism, Rococo art experimented with and interpreted the "chinoiseries" for the decorative arts. In this prolific context, therefore, it is not difficult to understand the original rhomboidal shape of the curious pair of vases presented here. In keeping with its time, the dense decoration of this original pair of vases began to be used from 1760 onwards and was in great demand on the English market. Its striking colours, overlapping gilt latticework and the minuteness of its palatial Chinese scenes became the hallmarks of a style now known as 'Mandarin'. This decorative style was frequently copied by Western factories and remained popular until the first half of the 19th century. Such was the fashion of the time that even European wallpaper reproducing so-called 'mandarin scenes' has survived to the present day. A punch bowl from the same period with similar decoration to ours can be found in the Victoria & Albert Museum in London. Inventory no. C. 89-1912.
19th April - Concha Barrios Private Collection
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