Multilayered stories of a Chinese porcelain vessel

Export porcelain of blue-and-white or whitewares were, in some cases, carved or incised with floral spray or animal motifs under the glaze, allowing the glaze to pool in the indentations and create a light-shade effect. This kind of carving design is sometimes described as anhua – secret or hidden decoration. For this piece, the carving was subtle enough that one needs to carefully look for it. In a way the later addition of enamel decoration also helps hide the anhua, though the carved lotus can still clearly be spotted as most of it is not covered by the enamel. A pair of pink ground vases with lids also found in Brodick, use a similar technique but with the etching-like carving conducted upon the enamel rather than on the unglazed porcelain body. The carving spreads across the whole vase and is only noticeable at close distance, from the perfect angle, with sufficient lighting, and discerning eyes.

In terms of this mounted porcelain piece, existing evidences suggest it to have been a teapot, minus its handle, spout and cover, with only the globular body being left to mount. This was first pointed out by Anton Gabszewicz in 'Ceramic Delights at Brodick' from the 1995 yearbook of National Trust for Scotland. The chipping underneath one of the ormolu handles implies potential damaged area of the spout, and for whatever reason the ormolu was added to disguise it. One example in the Chitra Collection, that of a Kangxi teapot with anhua design, does have a similar form, though the pattern of anhua only covers a limited area. An even more solid piece of evidence which only came to me recently is a teapot from the Dutch auction house Oriental Art Auctions. Its almost identical form, anhua pattern and overglaze decoration further prove the fact that the Brodick vessel was originally a teapot. The practice of mounting in this case also indicates a repurposing of objects, from a teapot to a possible potpourri bowl, denoted by the openwork near the rim of the mouth mount.

The overglaze Dutch decoration exquisitely depicts typical Chinese motifs such as ‘The Three Friends of Winter’ (pine tree, bamboo, and plums) and two birds, in reference to Chinese bird-and-flower paintings. The birds could potentially be magpies as they are a common motif in Chinese arts, symbolising joy and good fortune, regardless of the unique colour palette our Dutch enameller chose. However, the general decorative style in fact imitates not a Chinese one, but Japanese Kakiemon, which is also indicated by the tiger pattern painted near the bottom. Consisting of iron-red, bluish green, soft blue and occasionally yellow, Kakiemon created a distinctive colour palette of enamels which were popular in the European market from the 17th to the mid-18th century, and similar decorations were also applied to Meissen wares.

For the piece discussed here, the gentle touch of brushstroke and delicately painted details demonstrate great skill in decorating. It also suggests that whoever designed this decoration was making their choices based upon authentic Japanese and Chinese wares rather than pure European traditions. It is worth noting that another set of four porcelain plates in Brodick are also Chinese pieces with Dutch decoration. For that set, the enamel painting reflects another common motif among the 18th century Dutch decorators, with a parrot at the centre pecking on a cherry, and three parakeets perching on rose trees surrounded by foliate scrolls.

I am grateful to Patricia Ferguson and Professor Nick Pearce for their generous help and comments. I would also like to thank Patricia Ferguson and Robert McPherson for correcting me on the term use of qingbai.