Qianjiang Ceramics Painting- A

Qianjiang ceramics painting is a term used to describe a type of over glaze enamelled ware which was very popular during the Late Qing/Early Republican Period. The term Qianjiang cai (enamels) or Qianjiang porcelain was only coined in the 1950s. Prior to that, annals or commentaries in late Qing and Republican period did not classify it as a new distinctive type of over-glaze enamel decorative technique on porcelain.

The term Qianjiang was initially used to describe the type of “浅洚山水”　landscape painting by Yuan master literati painter Huang Gongwang. It is typified by use of a particular colour scheme: varying ink tone for outline, mass, shaded area of mountain/ tree trunk and reddish-brown for other aspects such as the foliage, water and the lighted area of the mountain.

The term was subsequently used to describe porcelain painting (inclusive of all subjects such as landscape, human figures, bird/floral) which used similar colour scheme but with additional colour such as aquamarine, moss green, pale blue, red and light pink.

The relationship of qianjiang and fencai painting has caused quite a bit of confusion. In term of the decorating medium, qianjiang utilises the fencai enamels. The main difference is actually the source of inspiration for the painting. Qianjiang painting draws inspiration from the Chinese literati painting whereas the typical fencai work is more akin to gongbi painting. For fencai painting, the area within the outline of the motif is first applied with an arsenic-based opaque white pigment. The deeper and lighter tone of the required enamel is obtained by mixing it with different amount of this opaque substance. The tonal gradations gives the motif its 3-dimensional look. Whereas for most Qianjiang, the enamel is applied directly without the opaque white pigment. Hence, the enamels is thin and lack tonal gradations especially on the early qianjiang works.

But the biggest stylistic difference is very much reflected in the use of black. In a typical fencai work, the cobalt black colour is covered with a layer of transparent glassy lead-based substance. For Qianjiang, lead is mixed with cobalt and applied directly to the surface. Such treatment allows for more tonal differences and visually the effect is more akin to the effect of the black ink of Chinese painting on paper and silk. This is also not a new technic and could be traced to the early Qing mocai painting (ink painting) which in the Western world is generally associated with grisaille ceramic painting.

The most important contribution of the Qianjiang artists is the introduction of literati style painting on porcelain medium. On most works, the composition incorporate calligraphic inscription/poem and seal marks. Essentially, it is a transference of Chinese ink painting onto ceramic medium. The work is the creative effort of a single artist whereas those traditional fencai and wucai (famille verte) works were the result of division of labour.

An early maocai work by Hu Kui (胡夔）with cyclical dating of Ding Mao (丁卯）i.e. 1864 A.D has raised interesting discussion on whether the introduction of literati painting on porcelain was first experimented using solely mocai. If you compare it to the above mocai cup/saucer, the standard of Hu Kui's work is definitely highly accomplished. Hu Kui was a reputed Chinese ink painting artist.

It is worth noting that there are extant qianjiang examples incorporating painting of both mocai and fuller range of enamels on same vessel.

With the increasing research and study of qianjiang porcelain artwork, there is changing perception and recognition that the skillful ones are not just craftsmen but artists in their own right. It is no exaggeration that such form of ceramic painting has further enriched Chinese painting as an art form.

The term qianjiang used to describe a form of landscape painting by Huang Gong Wang is actually inadequate and inappropriate and does not do justice to the wide range of styles and subjects found on this literati painting rooted ceramic art. The pre-eminent Chinese ceramic expert Geng Bao Chang (耿宝昌）had in the past coined the term shui mo wucai (水墨五彩) to describe this genre of ceramic art. Comparatively it is a more appropriate term as the term shui mo, literally meaning water ink encapsulates the essence of this class of painting. The artistic expression through ink is the very soul and spirit of literati painting.

The earliest piece of Qianjiang porcelain was initially thought to be a teapot decorated with Qianjiang style landscape and dated to 1855, the 5th year of Xianfeng. It was drawn by Cheng Men and his second son Cheng Rong. However, according to Mr Xiong Zhong Rong in his book Qianyitang Cangci (谦益堂藏瓷), the teapot should be dated 1879 and not 1855. It was the mis-reading of the cyclical date. Furthermore, according to his research, in 1855 Cheng Meng was 21 years old. Hence, even if his son Cheng Rong was born, he would be too young to master the painting skill. It was also the year that the Taiping rebels captured Jiangxi and destroyed and burnt the imperial kiln complex in Jingdezhen. The rebels occupied Jingdezhen for 7 years and porcelain production was severely disrupted during this period. Many of the potters could have perished or left Jingdezhen to seek a livelihood elsewhere. Porcelains produced are generally of poorer quality and the volume was low.

The pioneers of Qianjiang paintings are widely acknowledged to include Cheng Men, Jin Pin Qing and Wang Shao Wei. They were also accomplished practitioners of the Chinese literati ink paintings. The abovementioned Hu Kui may also be considered as a pioneer. Unfortunatlely very few examples of his qianjiang work have survived. They have successfully adapted the fencai medium to simulate the effect of ink painting on ceramic medium. Jin and Wang worked for the imperial factory during the reign of Tongzhi and Guangxu eras. So far the earliest piece of qianjiang work uncovered was by Cheng Men and was dated to 4th year of Tongzhi reign. In fact recent materials revealed that Cheng Men had also worked in the Imperial kiln.

During the initial phase till about 1885 (10th year of Guangxu), Qianjiang porcelains were only produced by a small circle of cultivated artists who were well-versed in Chinese literature and highly skilled painters and calligraphers. The production was probably of a small scale and intended for a specialised group of consumers, mainly those from the gentry’s class. This demarcation was suggested in an article by a Chinese Qianjiang collector, Mr Zhao Rong Hua. Most of the pieces during this period were executed with light tone enamels (mainly black, brown, blue, moss green, aquamarine and with spare use of light pink) which are powdery in appearance. Visually they appear soft, subdued and pleasing to the eyes.

The peak period of Qianjiang porcelains production was from 1885 to about 1911. The pool of Qianjiang artists was enlarged by a maturing group of new entrants trained or influenced by the pioneers. The increased production was easily absorbed by growing demand from an emerging group of affluent consumers. They have benefited from an economy which has recovered after the suppression of the Taiping, Nian, Muslim and other regional rebellions, and improvement measures taken during the Tongzhi restoration were showing their effects. Many of the work especially those with birds/flower and human figures were clearly influenced by paintings of artists stationed in Shanghai, which has evolved into a cultural and commercial centre after it was opened up for foreign trade. The works of the artists in Shanghai, such as Ren Yi, Ren Xiong and Wu Changshuo were popular and in high demand. This school is given the name Hai pai (海派), i.e. Shanghai style. To cater to a wider market including the wealthy merchant class and common folks, the colour scheme gradually evolved and changed to satisfy their taste, sensibility and preference. Aesthetically, the common folks appreciate more vibrant colours which convey a sense of gaiety and vibrancy. Hence, it is not surprising that their styles were copied to enhance the appeal of the porcelains to the consumers. The style of Qianjiang paintings during this period is characterised by more vibrant, stronger and deeper colour tone. This is especially evident in the depiction of birds and flowers.

There are ‘purists” who argue that such works should not be classified as Qianjiang. In fact, such latter works shared the same literati painting root as earlier Qianjiang work in terms of the execution technique, enamels and the composition. To exclude such works would miss the very essence of this genre of decorative art.

Introduction of Jinwen (金文)

Among the repertoire of motifs found on qianjiang porcelain, the use of Jinwen (金文) i.e. ancient Shang/Zhou script on metal and stone, is an interesting feature. It reflected an aspect of leisurely pursuits of the literati class. There was a revival of interest in antiquarianism during the Qing Dynasty. It is the collection and study of ancient objects, especially Shang/Zhou bronze objects and epigraghy on bronze and stone stelae (Jinwen 金文), to understand past history.

Qing Guangxu Hat holder with Jinwen as a decorative element

The history of antiquarianism or Kaogu (考古) can be traced to the Northern Song period. There were two key publications from the period : the Kaogu tu by Lü Dalin (吕大临考古图) and the Bogu tu by Wang Fu (王黼博古图). The influence of both works is still very visible in the classification of ritual bronze vessels. The other key moment in collecting culture and antiquarian studies was the very long reign of Qianlong, whose art collections exceeded any previous one. Though the investigation methods of Song and Qing literati were certainly different from modern ones, it remains in many ways a characteristic trait of Chinese archaeology.

Two Qianjiang pioneers, Jin Pin Qing and Wang Shaowei had worked in the imperial kiln. This is convincingly established by Mr Liu Xinyuan in the book "Brush and Clay" by Simon Kwan. Mr Liu interview Li Qi, a descendant of Li Yingzhou who headed the imperial factory in the Tongzhi period. Jing and Wang were than known as the "two brushes of the imperial factory". One of the known work by Jin indicated that it was painted at Huan Cui Pavalion (环翠亭) and another by Wang done at Bangong garden　（半弓园）, both located within the imperial factory compound.

Some extant works by other Qianjiang artists also indicated they were done at "珠山官廨"　or "珠山官舍" i.e. Zhushan government factory or dormitory. Another interesting observation is a group of qianjiang pieces with the mark "官窑内造", i.e. "Guan Yao Nei Zao" literally means made within the imperial kiln. This may be a marketing strategy by the imperial kiln artists to differentiate their products. Generally those with this mark are of good quality.

From around 1911，increasing number of ceramic craftsmen started to use imported enamels termed yangcai ( 洋彩), literally meaning foreign colours, to paint qianjiang style porcelain. The design using yangcai can be painted directly on vessel just like water colour on paper. The pigments are synthetic materials whose colorants include metal oxides and silicates. Range of colour available is wide. More intermediate shades can be obtained by blending the existing colour. The enamels are thin and colour more even. Nowadays, Yang cai is also termed Shu Cai (水彩), meaning water colour. During the early stage, the painter experimented with using a combination of fencai and yang cai on the work.

Initially consumers were attracted by the brightly coloured decoration. But the novelty slowly worned off and it only enjoyed a short period of success. Subsequently, the shortcomings of Yangcai became apparent compared with the fencai based qianjiang decoration. Yangcai is thin and even tone. It lacks the depth and expressiveness of the fencai based enamels and it is difficult to capture the intrinsic quality of ink painting. Only a small number of skillful and accomplished artists were able to achieve some degree of success in their work.

As the style and composition of such Yangcai work is similar to fencai based Qianjiang painting, some collectors have difficulty differentiating them. Despite the shortcomings of Yang cai, there are still good standard works worth collecting. We should judge each by its individual artistic merits.

The art of literati ink painting on porcelain regained a new lease of life through the introduction of new fencai. Such works are essentially a continuation of the literati style paintings on ceramics first popularised by the Qianjiang artists of the late Qing period. The Jingdezhen ceramics artists realised that Yangcai was a poor substitute for fencai based enamels for execution of their literati ink painting rooted tradition. After much experimentation, they found their answer in new fencai as the ideal medium. New fencai enamels are visually more vibrant especially with part of it decoration covered with a transparent glossy glaze. The artists' mastery of the improved fencai enamels were superb with ability to depict delicate fine shadings. The most famous pioneers of new fencai were Pan Taoyu (潘陶于)and Wang Xiaotang (汪晓棠). Pan was a all-rounder who was good in human figures, landscape and bird/flower. Wang was famous for his work on human figures. Both died young before the age of 40. Very few of their works survived.

Among Pan Taoyu's students are Wang Yeting, Liu Yucen and Cheng Yiting, all members of the famous Eight Friends of Zhushan (珠山八友). The Eight Friends of Zhushan were among the best new Fencai master artists of the Republican period. They were members of the Yue Yuanhui (月圆会）, a society which members met on the full moon of every lunar month at Zhushan to interact and exchange ideas. Each of the artists specialised in a particular subjects and had their distinctive style. They represented the highest artistic and technical excellence that could be achieved using new fencai as the medium. For more information, please read below article:


18th Cent. Chinese mocai landscape painting on cup/saucer. Strictly speaking, the source of inspiration for the painting is from literati painting. In term of brush skill, it is however amateurish .


Mocai painting by Hu Kui (胡夔）


Work by Zhu Shao Quan (朱少泉)


An example with Guanyao Neizao (官窑内造)mark