Microscopic and Technological Study of a Pink Famille-Rose Imperial Vase with Sgraffito Decoration and Crane Motifs of the Qianlong Period

This article presents a comprehensive microscopic and technological study of a monumental imperial vase of the Qianlong period (circa 1740–1775), decorated in the famille-rose palette. The vase is adorned with a pink enamel ground featuring incised floral sgraffito patterns (jinshang tianhua 錦上添花), cartouches with peonies, cranes, pheasants, chrysanthemums, and birds among bamboo, a purple gradient lotus-shaped rim, relief handles covered with gilding, and a turquoise underglaze base with a six-character reign mark. Microscopic examination confirmed the presence of colloidal gold nanoparticles as the chromophore of the pink enamel, lead arsenate as the main opacifying agent, as well as remains of natural gold leaf. The study situates this vase within the highest category of Qing dynasty imperial porcelain, technically and symbolically, representing longevity, prosperity, and court ceremonial use.

Keywords

Qianlong, famille-rose, pink enamel, colloidal gold, lead arsenate, sgraffito, imperial porcelain, cranes, Jingdezhen

1. Introduction

The reign of Emperor Qianlong (1736–1795) marked the pinnacle of Qing dynasty porcelain manufacture. This period was characterized by a remarkable technical and artistic sophistication, particularly in the development of overglaze enamel palettes. Among the most innovative achievements was the perfection of famille-rose (fencai, 粉彩) enamels, which utilized colloidal gold nanoparticles to create a delicate and opaque pink coloration. This technique, derived in part from Western technological influence, was perfected in the imperial workshops of Jingdezhen.

Another important innovation of the Qianlong period was the use of incised decoration on enamelled surfaces, known in Chinese sources as 粉地軋道 (fendi yadao), or more poetically as jinshang tianhua (錦上添花, “as if adding flowers to brocade”). This involved the incision of thin, brocade-like floral or arabesque motifs into a colored enamel ground before firing, producing a refined decorative texture that became emblematic of high imperial taste.

This study aims to provide a detailed analysis of a monumental famille-rose vase with pink enamel ground and sgraffito decoration, supported by microscopic examination of enamels and gilding, as well as comparison with published technical studies of Qing dynasty porcelain.

2. Object Description

• Height: 60 cm

• Form: Baluster-shaped body with a lotus-petal rim and double gilt scroll-shaped handles

• Decoration:

  • Ground: Pink enamel with incised floral sgraffito ornament (jinshang tianhua)

  • Cartouches: Scenes with cranes, pheasants, peonies, chrysanthemums, and small birds among bamboo, representing auspicious wishes for longevity and prosperity

  • Rim: Lotus-shaped with a gradient of purple and violet, the petal edges highlighted in gilding

  • Handles: Relief, with remnants of natural gold leaf in recesses

• Base: Turquoise glaze of dense and uniform texture, silky in microstructure, bearing a six-character reign mark in underglaze blue

3. Microscopic Analysis

3.1 Pink Enamel (Famille-Rose, 粉地)

Microscopic observation revealed a granular structure with sparkling inclusions, corresponding to the presence of colloidal gold nanoparticles (Au-NP) dispersed in a lead-silicate glass matrix. The diagnostic visual effect of ruby glass is evident. In addition, the opaque texture of the enamel corresponds to the use of lead arsenate as an opacifier, consistent with published scientific studies (Li et al., 2018; Colomban, 2017).

3.2 Incised Sgraffito Decoration (jinshang tianhua)

Magnification shows V-shaped grooves incised through the pink enamel ground, executed before firing. These grooves are subsequently covered by a transparent glaze layer, producing a brocade-like ornamentation. The precision and delicacy of the incision are characteristic of imperial Qianlong porcelains.

3.3 Purple Gradient Lotus Rim

Microscopic study of the lotus-shaped rim reveals layered transitions between white, violet, and deep purple hues. These transitions are the result of multi-stage firing with gradual introduction of manganese and cobalt oxides, demonstrating the technical mastery of Jingdezhen workshops.

3.4 Gilding

Traces of natural gold leaf were detected under magnification in the recessed areas of the relief handles and around the incised ornaments. The gilding is unevenly preserved, but its presence confirms the luxurious decorative intent of the vessel.

3.5 Turquoise Underglaze Base

The turquoise glaze on the underside of the base is dense and uniform, with a silky micro-luster observable under magnification. This feature is a diagnostic hallmark of authentic imperial porcelains produced at Jingdezhen during the Qianlong period.

4. Literature Review

• Colomban, P. (2017, 2022): Raman spectroscopy has confirmed the presence of gold nanoparticles as the chromophore of pink enamels, along with lead arsenate opacification.

• Li, Y., et al. (2018): Demonstrated the essential role of lead arsenate in the opacification of famille-rose enamels in Qing dynasty porcelains.

• Su, Y., et al. (2016): Provided detailed elemental analysis of painted enamels, identifying Naples yellow, arsenates, silicate glass phases, and other pigments.

• Norris, D. (2022): Highlighted the variability between Western and Chinese recipes for enamels, with Chinese pink enamels relying primarily on arsenate opacification.

• National Palace Museum, Taipei (2020): Catalogues describe the technique 粉地軋道 (sgraffito pink ground) as jinshang tianhua, or “adding flowers to brocade,” a decorative innovation of the Qianlong period.

• Palace Museum, Beijing (2015): Publications on Qing dynasty enamels describe the prevalence of incised decoration on pink famille-rose wares as a sign of courtly production.

• Dronova, N. D. (2016): What You Need to Know About Antique Chinese Porcelain [Что надо знать о старинном китайском фарфоре]. Moscow: OOO “Tipografiya KEM”, p. 133. DOI: 10.5281/zenodo.16794377. ISBN 978-5-9908782-6-6.

5. Iconography

The vase presents a carefully arranged iconographic program:

• Cranes (鹤): Symbols of longevity and purity, associated with immortality.

• Peonies (牡丹): Emblems of wealth, prosperity, and honor.

• Chrysanthemums (菊花): Represent resilience, virtue, and the autumn season.

• Birds among bamboo: Express harmony, uprightness, and scholarly refinement.

Together, these motifs create a courtly blessing for prosperity, spring renewal, and eternal life, reflecting the ceremonial role of the vase in palace interiors.

6. Attribution

The combination of technical and iconographic features — pink enamel based on colloidal gold, lead arsenate opacification, incised sgraffito decoration, multi-stage enamel firing, gilding, and turquoise underglaze base — allows a secure attribution of this vase to the imperial workshops at Jingdezhen during the reign of Emperor Qianlong, circa 1740–1775.

7. Conclusion

Microscopic and technological evidence confirms that this vase is a museum-level exemplar of imperial famille-rose porcelain of the Qianlong period. The use of incised sgraffito decoration on pink enamel, combined with symbolic iconography of cranes and peonies, situates this work within the most refined achievements of Qing dynasty decorative arts. The study demonstrates the exceptional technical brilliance of Jingdezhen workshops and underscores the cultural significance of imperial porcelain as both an artistic and ceremonial medium.

Author

Professor Nona Dronova, Doctor of Technical Sciences
ORCID: 0009-0007-4867-9074

References

• Colomban, P. (2017). Non-invasive Raman analyses of huafalang and related Chinese porcelains. Ceramics International, 43, 12223–12233.

• Colomban, P. (2022). Distinguishing genuine Imperial Qing porcelains by Raman spectroscopy. Materials, 15, 4510.

• Li, Y., et al. (2018). Study of arsenic in famille-rose porcelain. Ceramics International, 44, 15340–15347.

• Su, Y., et al. (2016). Elemental analysis-aided Raman study of Chinese painted enamels. Spectrochimica Acta Part A: Molecular and Biomolecular Spectroscopy, 165, 79–87.

• Norris, D. (2022). Technological connections between Western and Chinese enamels. Heritage Science, 10, 64.

• National Palace Museum, Taipei. (2020). Pink Ground with Sgraffito Decoration in Qianlong Porcelains (粉地軋道 / jinshang tianhua). Exhibition notes.

• Palace Museum, Beijing. (2015). Falancai and Fencai Porcelain of the Qing Dynasty. Catalogue.

• Dronova, N. D. (2016). What You Need to Know About Antique Chinese Porcelain [Что надо знать о старинном китайском фарфоре]. Moscow: OOO “Tipografiya KEM”, p. 133. DOI: 10.5281/zenodo.16794377. ISBN 978-5-9908782-6-6.