Imperial

To tell the story of Imperial Chinese porcelain is in some ways to tell the story of China itself. Fascinating, vibrant, richly varied and a beautiful artform that has beguiled, intrigued and captivated the rest of the world for millennia.

Chinese Imperial porcelain, often known as Imperial ware in China (Guan yao), is porcelain specifically manufactured for the Chinese emperor and the Imperial household. The first Imperial kiln was founded during the second year of the Ming dynasty (1369) in Zhushan (Pearl Hill) in the southern city of Jingdezhen.

The official kilns making Imperial Chinese porcelain in Jingdezhen were established in the fourteenth century and pieces of Chinese Imperial porcelain produced at the factory were marked with an official nian hao, or reign mark. The marks were applied to the pieces by a very small number of highly specialised craftsmen, some of whom spent their entire working lives painting the same nian hao.

Available Pieces
  • M5791

    M5791

    £68,000

    Chinese porcelain imperial bowl with deep rounded sides rising from a short straight foot, covered overall in an even blue glaze, the base with a six-character mark of Kangxi within a double-ring in underglaze blue and of the period.

  • 16 - SMBM2

    16 – SMBM2

    £POA

    Pair of Chinese imperial porcelain bamboo bowls, wan, of thinly potted deep form with upright sides and short foot, each painted in the reverse technique with white branches of bamboo on a rich and even coral-coloured ground, the interiors glazed white.

  • 17 - M5247/8

    17 – M5247/8

    £POA

    Pair of Chinese imperial porcelain famille rose enamelled conical flower-form bowls and covers, gai wan, with six petals, painted with pairs of sky-blue and turquoise enamelled five-clawed dragons with open mouths in pursuit of yellow and iron-red flaming pearls amongst ruyi-clouds and flames above crested and foaming waves, repeated on the rims of the covers.

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  • 18 - SMBM3

    18 – SMBM3

    £POA

    Chinese imperial porcelain blue and white bottle vase, suantou kou ping, with pear-shaped body, everted lipped foot, garlic mouth and upright rim, painted on the body with twelve seasonal blooms borne on a continuous scrolling branch with characteristic leaves including peony, chrysanthemum, camellia, hibiscus and lotus, beneath a ruyi-head band and a blue washed prunus flower head band at the ribbed shoulder, the neck with lappets of branches and leaves beneath the garlic mouth painted with flowerheads and their characteristic leaves beneath a keyfret band at the upright rim. The foot painted with a crested wave and foam band beneath blue ground lappets, painted overall in the classic Ming style with heaped and piled effect.

  • 20 - M5145

    20 – M5145

    £POA

    Chinese imperial porcelain large celadon-glazed moulded and carved deep bowl, wan, with flared white-glazed rim and slightly inverted foot decorated on the exterior with large sprays of lotus flowers, leaves and buds, fruiting peach branch, peonies, a pink flower, finger citron, prunus, camellia, fruiting pomegranate, tree peony and fruiting lychee, covered overall in a rich and even luminous celadon glaze, extending to the interior and the base.

  • 21 - S1439

    21 – S1439

    £POA

    Chinese imperial porcelain lemon-yellow ground underglaze blue decorated nine peach dish, pan, of slightly conical form with gently flared rim, painted in the centre with two leafy branches bearing nine peaches in early Ming style with heaped and piled effect, all within two double lines in underglaze blue. The underside painted with continuous scrolling branches of entwined morning glory with nine flowerheads amongst large leaves and buds, within double lines in underglaze blue with a further double line on the foot rim.

  • 22 - M4826

    22 – M4826

    £POA

    Chinese imperial porcelain blue and white bottle vase, shang ping, painted in the Ming style with heaped and piled effect, with globular rounded body and four wide relief ribs, tall cylindrical flared neck and slightly splayed foot, painted on the body with six different large flowerheads on a continuous scrolling branch beneath six smaller flowerheads each with its characteristic leaves, including lotus, peony, chrysanthemum and camellia, above a wide band of blue wash ground lappets and beneath bands of ruyi-heads and different flowers on a scrolling branch at the shoulder, the neck with tall leaves above a keyfret band, beneath a further ruyi-head band with a crested wave band beneath the rim, the splayed foot with a scrolling branch.

  • 23 - R1407

    23 – R1407

    £POA

    Chinese imperial porcelain doucai tripod censer, san zu lu, painted on the body with the Eight Buddhist Emblems, bajixiang, each ribbon tied amongst scrolling lotus and peony flowerheads on branches with scrolls and leaves, beneath a yellow ground ruyi-head band, between two curved openwork handles with open-winged iron-red bats and aubergine bats at the terminals, the flat sides with keyfret, with a lotus flowerhead interlinked branch on the neck above a green-washed band, the relief galleried rim with iron-red keyfret, all on three cabriole feet with flowerheads and branches linked by ruyi-heads, above further keyfret at the foot.

  • 24 - M5289/90

    24 – M5289/90

    £POA

    Pair of Chinese imperial porcelain wucai dragon and phoenix bowls, wan, deeply potted with gently flaring rims, each painted on the exterior with an iron-red and a green five-clawed dragon in pursuit of a flaming pearl separated by two swooping phoenix birds amongst leaves and flowerheads in two tones of green, beneath a band of bajixiang alternating with ruyi-heads, above two lines in underglaze blue on the foot. The interior painted in the well with an iron-red five yellow-clawed dragon in pursuit of a flaming pearl amongst flames within two underglaze blue double lines and one at the rim.

  • 25 - M4743

    25 – M4743

    £POA

    Chinese imperial porcelain blue and white vase of zun form, painted in the Ming style with heaped and piled effect, the body with two wide bands, the lower register with six different large flowerheads and twelve smaller flowerheads, all on continuous scrolling branches with their characteristic leaves, including peony, lily, rose, poppy, pink, camellia and mallow, beneath a band with six large lotus flowerheads on a continuous scrolling leafy branch with smaller flowerheads, all between six relief ribs above a wide band of swirling crested waves and a further rib above lappets on the splayed foot, all between two high relief taotie animal mask and ring handles, the neck with formal archaic style leaves, beneath a further crested wave band at the rim.

  • 26 - M4491/2

    26 – M4491/2

    £POA

    Pair of Chinese imperial porcelain lavender-glazed altar vessels and covers, dou, each modelled after an archaic bronze with moulded and carved archaic designs, the upright body with ribs and bands all on a splayed, ribbed foot, the cover with a design of scrolls, fretwork and two registers of stylised waves beneath a double-rope twist openwork finial, covered overall including the interior and underside in a luminous, rich and even lavender glaze, all the rims dressed in brown in veneration of the archaic prototype.

  • 27 - M5240

    27 – M5240

    £POA

    Chinese imperial porcelain ruby ground famille rose enamelled vase, feng er ping, with light blue and dark blue enamelled outlined openwork phoenix handles, decorated on each side with the Eight Daoist Emblems, anbaxian on a rich and even ruby-red enamel ground above a lappet band with ruyi-head terminals and a leaf band on a gently splayed foot, all beneath a yellow ground band of ruyi-heads at the gilt rim, the interior and base lined with turquoise enamel.

  • 28 - M5538

    28 – M5538

    £POA

    Pair of Chinese imperial porcelain large moulded celadon-glazed bowls, wan, of deep form with upright sides and straight footrims, each moulded on the exterior with six peony blooms on their characteristic leafy branches beneath an archaic scrolling band at the rim and above a keyfret band at the foot, the interior incised overall with a central peony flowerhead encircled by six further blooms on a continuous scrolling branch with leaves beneath a keyfret band at the rim, the rims glazed white, covered overall in a luminous even pale celadon glaze.

  • 29 - M4941

    29 – M4941

    £POA

    Chinese imperial porcelain lemon-yellow ground underglaze blue decorated deep stem bowl, gao zu bei, with gently flared lipped rim and ribbed splayed foot, painted on the exterior with three fruiting branches of peach, pomegranate and finger citron, sanduo, all above lingzhi dispersed between panels of flowering camellia branches each with a bud above lingzhi, the splayed foot with crested waves. The well of the interior with a fruiting peach branch above lingzhi within two underglaze blue lines beneath a band of crested and swirling waves and prunus flowerheads all on a lemon-yellow ground.

  • S2554

    S2554

    £POA

    Chinese imperial porcelain blue and white deep palace bowl evenly potted with gently flared rim, the exterior with five further flowervheads on a scrolling branch, amongst arrow-head leaves, scrolls and foliage all above a band of stylized lotus petals, the interior painted in the well with a lotus flowerhead, amongst arrow-head leaves, scrolling branches and foliage.

  • TL1

    TL1

    £POA

    A Chinese porcelain blue and white imperial bowl, wan, painted with two five-clawed dragons divided by a large branch of lingzhi fungus supporting a ruyi-head shaped shou and fu characters, amongst stylised flames and clouds and above a band of overlapping petals all between double rings, painted in the well of the interior with a similar dragon medallion.

  • M4950

    M4950

    £POA

    A Chinese imperial porcelain blue and white small saucer dish, painted in the centre in luminous vivid tones, with three scaled mythical animals including a qilin, a monkey headed qilin and an elephant headed animal, together with a tiger and a dragon emerging from rockwork beneath ruyi clouds, with a pine branch, other plants, rockwork and flowerheads, encircled with a continuous border of a lotus pound with pairs of geese, ducks, cranes and other birds amongst lotus flowers, leaves, arrow heads and aquatic leaves, the underside with six branches of pomegranate, hibiscus, persimmon, morning glory, peach and another flowering branch. Japanese wood box.

  • M5427and8

    M5427and8

    £58,000

    Pair of Chinese imperial porcelain famille rose, fencai, lobed jardinieres on five ruyi-head feet, the body decorated with gilt circular shou-character medallions amongst iron red bats in flight and blue enamel wan-characters, all heightened in gilt on a rich lemon yellow ground, the flat slightly lipped rim with flowerheads on a lime green ground, the interior and base with turquoise enamel lining.

Further information

Over the centuries, the royal court generated massive demand for Chinese Imperial porcelain, now highly collectable antiques. Imperial China had main palaces and residences and the royal princes had subsidiary regional courts. There were also many regional temples that required Imperial ware. In China, each household rank was entitled to a very specific collection set out in a written list. The last of which was produced in 1899 and specified that:

The Empress Dowager Cixi received 821 pieces of Imperial yellow Chinese porcelain, the Empress received 1,014 pieces, a concubine (first rank) received 121 pieces of Imperial yellow Chinese porcelain with a white interior and a concubine (second rank) received 121 pieces of Imperial yellow Chinese porcelain decorated with green dragons.

As more and more Imperial ware from China made its way into international collections, especially the cobalt blue designs from the Ming dynasty, Chinese Imperial porcelain developed a major influence over the world’s most famous design houses, most notably Delftware from the Netherlands.

The Kangxi Emperor (1661 – 1722) revived the Imperial Chinese porcelain factories in Jingdezhen after a 60-year period of dormancy. Under his reign, and of his successors Yongzheng and Qianlong, the Imperial Chinese porcelain factories flourished. Not only did they take inspiration from their predecessors, they combined it with amazing developments in production techniques to make exceptionally high quality Imperial ware. China, for example, led the way in the development of many of the techniques still in use today, including the development of opaque overglaze enamel colours that allow artists to create a much broader range of shades and hues.

You should also check

Chinese Export

Objects made in China for the purpose of being exported to the West.

Famille Rose

Objects of the aforementioned colour palette primarily identified by the use of a pink enamel.

Blue & White

Blue & white pieces, synonymous with Chinese porcelain.