A Cylindrical Vase with the Mark Shen De Tang from the Daoguang Period (1821–1850). Scientific Study of Glaze, Enamels, and Optical Effects

Abstract

This study presents a comprehensive analysis of a rare cylindrical porcelain vase from the Daoguang reign (1821–1850) of the Qing dynasty. The object, produced in the imperial kilns of Jingdezhen, bears the pavilion mark Shen De Tang Zhi (Made for the Hall of Prudent Virtue), associated with the personal residence of the Daoguang Emperor. The vase is decorated with a deep crimson glaze (oxblood/red glaze) and a finely painted famille rose scene depicting grapevines, flowers, and a grasshopper, accompanied by a poetic inscription.

Microscopic examination of the glazes revealed lead–silicate phase separation, colloidal pigments in the red enamels, and pronounced iridescence in the green, gray, and brown enamels — optical phenomena considered diagnostic of 19th-century imperial enameling technology. The results confirm the authenticity of the vase as a court piece made for Shen De Tang during the Daoguang period.

Keywords: porcelain, Daoguang, Qing dynasty, Shen De Tang, famille rose, glaze, iridescence, enamels, microscopy, Jingdezhen

Introduction

The reign of the Daoguang Emperor (1821–1850) was a turbulent period in Qing history, marked by the First Opium War (1839–1842) and significant economic decline. Despite these difficulties, the imperial kilns of Jingdezhen continued to produce high-quality porcelain for the court.

Among the rarest wares of this period are pieces bearing the mark Shen De Tang Zhi (“Made for the Hall of Prudent Virtue”), referring to a private pavilion of the Daoguang Emperor in the Yuanmingyuan palace complex, completed around 1831. Porcelain with this mark, produced between 1831 and 1850, reflects a chamber-like and intimate aesthetic, distinct from the grandeur of Qianlong-period porcelains.

The present study focuses on a cylindrical vase, 30 cm in height, with a deep crimson glaze and finely painted decoration. Its technical features, microscopic structure, and poetic inscription provide valuable evidence for the study of late Qing imperial porcelain.

Object Description

• Title: “Imperial Flight in Crimson Mist”

• Form: cylindrical vase with a tall neck and stable foot

• Material: fine porcelain

• Height: 30 cm

• Decoration:

  • upper and lower parts covered in a deep crimson glaze with oily luster;

  • central field painted in famille rose enamels, depicting grapevines, flowers, and a grasshopper;

  • reverse side with poetic inscription in black enamel.

Mark: four-character seal mark Shen De Tang Zhi 慎德堂製, written in iron-red enamel beneath a transparent glaze on the base. The calligraphy shows natural unevenness typical of hand-painted marks from the early 19th century.

Poetic Inscription

Original text:
翩翩寒風翔,小酌無知時。

Literal translation:
“Lightly, lightly in the cold wind it soars; with a small cup of wine, one loses awareness of time.”

Poetic rendering:
“In the cold wind — a gentle flight; with a sip of wine — time slips away.”

This couplet exemplifies the chamber-style aesthetic of Daoguang porcelain, combining imagery of nature with intimations of poetic leisure.

Microscopic Analysis

High-resolution microscopy was applied to study the glaze and enamel structure.

1. Crimson glaze

• deep, saturated color with oily brilliance;

• inclusions and micro-porosity visible;

• Pb–Si phase separation confirmed, a diagnostic feature of 19th-century crimson glazes;

• stratification and pigment mobility visible at the boundary with the white glaze.

2. Famille rose enamels

• applied in multilayered washes;

• red pigments exhibit particulate distribution consistent with colloidal gold, the standard technology of Qing famille rose enamels;

• transparent zones show strong optical iridescence.

3. Iridescence of green, gray, and brown enamels

• Green enamels display bluish-violet iridescence;

• Gray and brown tones produce golden-bronze iridescence;

• the iridescence is visually striking and easily observed under natural light;

• this effect arises from lead–silicate phase separation with metallic oxide inclusions (Fe, Cu, Mn) and is considered a key diagnostic marker of authentic Qing enamels (Li et al. 2018; Colomban 2022).

Base

• underside covered in white glaze with a slight bluish–turquoise hue;

• footrim unglazed, with rough texture and firing-ring traces;

• structure consistent with Daoguang-period imperial wares.

Diagnosis and Attribution

1. Form and decoration — rare chamber-type vase of the Daoguang reign.

2. Mark — Shen De Tang Zhi, firmly linking the object to the emperor’s private pavilion (1831–1850).

3. Microscopy — crimson glaze with Pb–Si phase separation, famille rose enamels with colloidal gold, and strong iridescence of colored enamels confirm authentic 19th-century imperial technology.

4. Condition — excellent, no restoration, natural patina visible.

Conclusion: The vase is securely attributed to the Daoguang period (1821–1850) as an authentic piece of imperial porcelain made for Shen De Tang in the Jingdezhen kilns.

Historical Context

Porcelain with the Shen De Tang mark reflects the refined, intimate tastes of the Daoguang Emperor, who sought continuity with the artistic traditions of the Qianlong reign while adapting them to a more restrained aesthetic. These objects were used in the imperial residences and pavilions of Yuanmingyuan. Today, comparable examples are preserved in the Palace Museum (Beijing), the Shanghai Museum, and the National Palace Museum (Taipei).

References

1. Colomban, P. Distinguishing Genuine Imperial Qing Dynasty Porcelain Using Raman/Non-Destructive Analyses. Heritage, 2022.

2. Li, Y., et al. Study of arsenic in Famille rose porcelain from the Imperial Palace of Qing Dynasty (Beijing). Journal of the European Ceramic Society, 2018.

3. Giannini, R., et al. European cobalt sources identified in the production of Qing famille-rose porcelain. Journal of Archaeological Science, 2017.

4. British Museum. Collection entries of porcelain with Shen De Tang mark.

5. Sotheby’s. Catalogue notes on Shen De Tang Zhi porcelain (1831–1850).

6. Gotheborg. Porcelain marks database, entry on Shen De Tang.

7. Huang, E. Jingdezhen Porcelain and the Production of Art in the 18th–19th Centuries. UC eScholarship, 2008.

8. Historical sources on the First Opium War (1839–1842) and the Treaty of Nanking.

9. Dronova, N. D. What You Need to Know About Antique Chinese Porcelain. Moscow: Tipografiya KEM, 2016, p. 287. DOI: 10.5281/zenodo.16794377.