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LEFT: Portrait of the Yongzheng Emperor in Court Dress, by anonymous court artists, Yongzheng period (1723—35), Qing Dynasty. Hanging scroll, color on silk. The Palace Museum, Beijing. Public Domain.

RIGHT: History of China, Imperial Dynasties, source: Dynasties in Chinese history, Wikipedia.

Let's start with exquisite porcelain pieces—objects that bear traces of empires, workshops, and unexpected encounters. Among the most fascinating are those linked to the Jesuits at the Qing court, either directly or indirectly.

One such piece is a superbly enameled porcelain box and cover bearing a Yongzheng period (1723–1735) reign mark. Art historian Regina Krahl notes that the Yongzheng emperor greatly valued auspicious imagery, especially motifs promising longevity, protection, and legitimate rule. Peaches (桃 táo) are among China’s most powerful symbols of longevity; eight (八 bā) is a lucky number; and flowering peach branches were believed to ward off evil. Court artists, such as the Italian painter Giuseppe Castiglione (1688-1766), presented the emperor with paintings heralding good fortune. Court artisans fashioned ruyi scepters that granted wishes in many different materials. The emperor surrounded himself with portents of good luck.

This medium-sized box (with a diameter of 19.2 cm) was sold at Sotheby’s Hong Kong (2021) for HKD 34,660,000. Using today’s approximate mid‑market exchange rates, this is equivalent to US$ 4,437,000 and € 3,764,000.
In Western terminology it is described as "Famille Rose"; in Chinese ceramic vocabulary, this palette is most commonly called 粉彩 (fěncǎi), literally “powdery/pastel colours.”

Below, you can admire a magnificent pair of Chinese vases crafted during the Qianlong Emperor's reign from 1736 to 1796. The Qianlong Emperor, often referred to as the fifth Qing emperor, was actually the fourth to rule China. He was the favorite son of the Yongzheng Emperor and the greatest patron of Giuseppe Castiglione.

Christie’s catalogs this pair as “A magnificent pair of Famille Rose ‘butterfly’ double-gourd vases” with Qianlong six-character seal marks in underglaze blue and dating to 1736–1795. The catalog further notes that the decoration relates to a small group of Qianlong porcelains painted in fǎlángcǎi (琺瑯彩) enamels, a term often associated with imperial, court-controlled enamel techniques.

The decoration includes a rich variety of auspicious flora:

• 海棠花 (hǎitánghuā) – crabapple blossom
• 牡丹 (mǔdān) – peony, symbol of wealth and honor
• 木芙蓉 (mùfúróng) – hibiscus mutabilis
• 月季 (yuèjì) – Chinese rose
• 菊花 (júhuā) – chrysanthemum
• 山茶花 (shāncháhuā) – camellia

Butterflies (蝶, dié) function as rebuses in Chinese visual culture. Through phonetic association and symbolic layering, they evoke joy, longevity, and harmonious union. The gourd shape itself (葫芦, húlú) carries connotations of protection, fertility, and continuity.

This pair was sold by Christie's London on May 9, 2017, for £ 14,725,000 (also published by Christie's as US$ 19,054,150).​

A fine and very rare Famille Rose ‘boys’ jar with Qianlong six-character seal mark and of the period (1736-1795). Height: 6 in., 15.3 cm. Auctioned by Christie's in 2017.

Christie's experts defined this jar as being decorated in bright underglaze blue and doucai with Famille Rose elements.

Before we explore the connection between the "Famille Rose" and the Jesuits, it is important to understand the meaning of this enigmatic term. "Famille Rose" is a French expression meaning "Pink Family," and it is always referred to in French for a reason. Now, let’s explore why.

Fencai, falangcai, and doucai are Chinese terms that only partially align with what is meant by "Famille Rose." This is more than a mere question of terminology. It is far from trivial; together, we’ll see just how much it reveals.

THE ALLURE OF CHINESE PORCELAIN AND THE NEED FOR CLASSIFICATION

For centuries, Chinese porcelain has captivated the world, its delicate forms and vibrant colors symbolizing the pinnacle of ceramic artistry. From the imperial courts of Beijing to the drawing rooms of European aristocracy, these objects have been treasured not merely as functional wares but as profound expressions of culture, technology, and aesthetic philosophy . The very nature of porcelain—its translucency, its resonant sound when struck, and its ability to hold a flawless glaze—set it apart from other ceramics, celadons included, creating an aura of mystery and desirability. As these wares traveled across continents, particularly from the 16th century onward, they sparked a global fascination, leading to the establishment of "Chinoiserie" as a dominant artistic trend in 18th-century Europe.

This immense popularity, however, created a practical challenge: how to make sense of the vast and diverse array of porcelain being produced, collected, and traded? The need for a systematic way to categorize, describe, and understand these objects became paramount for scholars, collectors, and dealers alike. This necessity gave rise to two fundamentally different, yet equally influential, systems of classification: one developed in 19th-century Europe, focused on visual appearance, and the other rooted in traditional Chinese scholarship, centered on technical and historical origins.

The European approach, driven by a burgeoning interest in connoisseurship and scientific study, sought to impose order on the bewildering variety of Chinese wares arriving in the West . This led to the creation of a color-based taxonomy that grouped porcelains into "families" defined by their dominant enamel hues. This system, while intuitive and accessible, was an external framework applied to the objects, reflecting the European perspective and collecting priorities of the time.

In contrast, the traditional Chinese system of classification was an indigenous practice, developed over centuries by potters, scholars, and connoisseurs within the culture that created the porcelain. This system was not primarily concerned with surface color but with the deeper, more intrinsic qualities of the objects: the specific kiln where they were fired, the technical methods used in their creation, and the historical period in which they were made.

Understanding this dichotomy is crucial for anyone seeking a comprehensive appreciation of Chinese porcelain, as it reveals that the way we see and name these objects is shaped by the cultural lens through which we view them.

THE EUROPEAN "FAMILLE" SYSTEM

In the 19th century, French and other European connoisseurs developed a visually driven typology that became standard in the art market. One key figure was Albert Jacquemart, a French art historian and author of Histoire de la porcelaine (1862). His classifications were defined almost entirely by the dominant appearance of overglaze enamels on late Ming–Qing export wares and were widely repeated in catalogs (Abrigeon, 2018).

The European "family" system has three main characteristics that also define its limitations:

• It was market-oriented and emerged in sales catalogs, museum catalogs, and collection guides. Color families helped "brand" groups of export wares for collectors and raise prices (Abrigeon, 2018).
• It was chronologically imprecise: Color groups were sometimes treated as chronological stages, but dating could be imprecise because visual style, not kiln archaeology, was prioritized.
• It was technically coarse. Bodies from Jingdezhen, Dehua, or Canton enameling workshops might be grouped together as "famille rose" based on palette alone, despite differences in paste or firing.

Famille Verte (“Green Family”) Porcelain

Famille Verte is a classification of Chinese overglaze enamel porcelain. It is distinguished by a palette dominated by translucent green enamels and complemented by iron red, yellow, aubergine, and blue. Coined by Western collectors in the 19th century, this term describes a style that was developed and refined primarily during the Kangxi reign (1662–1722) of the Qing dynasty.

It represents a direct evolution of the Ming dynasty's Wucai ("Five Colors") tradition, with significant advances in enamel quality, range of colors, and firing precision. Famille Verte porcelains are considered one of the technical and artistic pinnacles of Qing ceramic history.

Rose Kerr states, "The famille verte palette, developed under the Kangxi emperor, marks a period of brilliance at Jingdezhen, blending Ming traditions with new refinements in glaze chemistry and kiln control" (Chinese Ceramics: Porcelain of the Qing Dynasty, 1986).

Famille Verte porcelain is decorated with overglaze enamels, i.e. colors painted on a glazed and fired porcelain body, then fired again at a lower temperature (800–900°C) to fuse the decoration without altering the glaze. The palette includes:

• Translucent greens derived from copper-based enamels
• Iron red (hematite)
• Aubergine (purple), from manganese and cobalt mixtures
• Yellow and blue, usually in limited areas
• Black is used for outlines and shading and is occasionally mixed with cobalt to create bluish tones.

Opaque white enamel is typically absent, and the white porcelain body itself serves as a key compositional element.

Stacey Pierson states: “Famille Verte decoration is characterized by brilliant, translucent enamels that lie on the surface of the glaze like miniature panes of colored glass.” (Chinese Ceramics: A Design History, 2009)

Signature Visual Features

• Halo effect: A subtle diffusion or iridescent edge caused by the interaction between the overglaze pigment and the underlying glaze produces a soft, glowing transition between colors.
• Painterly quality: Artisans used fine brushes and layered strokes to create expressive figurative details, naturalistic shading, and atmospheric settings.
• Meticulous line work: Black enamel (and occasionally gilding) was used to delineate forms with graphic precision.

Common Themes

• Narrative scenes: Episodes from classical literature, Daoist immortals, and courtly leisure.
• Floral and avian motifs: Peonies, lotuses, chrysanthemums, and birds in lush, seasonal compositions.
• Mythical animals: Qilins, phoenixes, and dragons often appear in symbolic or auspicious arrangements.
• Decorative borders: Key patterns, ruyi heads, or brocade motifs frame central reserves.

Famille Verte porcelain was largely developed during the Kangxi reign, though its roots lie in late Ming wucai ware, and some stylistic continuities persisted into the Yongzheng period. Scholars generally date the peak production period to around 1680–1720. During this time, both imperial kilns and private workshops in Jingdezhen produced pieces of extraordinary technical finesse.

Famille Verte enameling eventually gave way to Famille Rose enameling. The latter emerged during the Yongzheng reign (1723–1735) and was characterized by opaque pastel hues, particularly pinks, which were made possible by colloidal gold. However, earlier famille verte pieces are often considered superior in terms of brilliance, transparency, and precision of brushwork.

Valenstein states: "Although Famille Rose brought subtler effects and naturalism, it is in Famille Verte that we see the finest execution of enamel painting in the Qing dynasty" (A Handbook of Chinese Ceramics, The Metropolitan Museum of Art, 1989).

Famille Verte porcelains were produced for both the imperial market and the export market. Larger pieces, such as rouleau vases, baluster jars, and charger dishes, were often intended for display. Smaller items, such as snuff bottles, brush pots, and tea wares, circulated widely across Asia and Europe, especially through the Dutch East India Company (VOC) trade routes.

While the famille system of classification is a Western invention, it remains a useful framework for understanding enamel typologies. Famille Verte, with its luminous glazes, complex compositions, and rich narrative content, remains one of the most highly regarded styles of Qing porcelain.

LEFT: Enameled porcelain bottle decorated with a famille verte palette showing a dragon, waves, and the Eight Immortals. It was made during the Kangxi reign (1662-1722). Height: 14 inches (35.56 cm). © The Trustees of the British Museum, London, UK.

CENTER: Four-sided porcelain vase with a square foot and side handles. Decorated with landscape and figural scenes in famille verte enamels. It was made during the Kangxi reign (1662-1722). Height: 53 cm (20.87 in). © The Trustees of the British Museum, London, UK.

RIGHT: Enameled porcelain rouleau vase decorated with a famille verte palette. Made during the Kangxi reign (1662–1722). Height: 17 3/4 in. (45 cm). It was auctioned in 2007 by Christie's in New York, USA.

LEFT: Porcelain lantern with overglaze Famille Verte enamels, made during the Kangxi period (1662–1722). Dimensions: 8.5 x 6 in. © National Gallery of Art, Washington, USA.

CENTER: Porcelain hexagonal lantern with overglaze Famille Verte enamels, made during the Kangxi reign (1662–1722). Dimensions: 28.5 x 19.4 cm (11 1/4 x 7 5/8 in.). © National Gallery of Art, Washington, USA.

RIGHT: Porcelain large fish bowl with overglaze Famille Verte enamels. Made during the Kangxi reign (1662–1722). Dimensions: 42.9 × 58.3 cm (16 7/8 × 22 15/16 in.). Weight: 80 lbs (36.288 kg). © National Gallery of Art, Washington, USA.

A pair of Famille Verte enameled porcelain dishes. They are decorated with southern Chinese landscapes, figures, and an inscription. They were made in Jingdezhen during the Kangxi reign (1662–1722) of the Qing dynasty. Diameter: 8.13 in. (20.65 cm). © The Trustees of the British Museum, London, UK.

LEFT: Plate with lotus blossoms and a kingfisher. Date: Kangxi Reign (1662–1722) Medium: Porcelain painted with overglaze famille verte enamels. Diameter: 10 1/16 in (25.6 cm). Art Institute of Chicago, IL, USA.

TOP RIGHT: A very rare bowl. Date: Kangxi Reign (1662–1722). Medium: Porcelain painted with overglaze famille verte enamels. Diameter: 6 3/4 in. (17 cm). It was auctioned in 2014 by Christie's New York. The exterior of the bowl is finely decorated with two mandarin ducks swimming in a lotus pond and several smaller birds perched on the shore, on a rock, and in the tall grasses. A pair of birds is in flight above. The foot is encircled by an iron-red scroll within underglaze blue borders." (From the Christie's catalog.)

BOTTOM RIGHT: A rare "mandarin ducks and lotus pond" bowl. Date: Kangxi Reign (1662–1722) Medium: Porcelain, painted with overglaze famille verte enamels. Diameter: 7 in. (17.5 cm). It was auctioned in 2024 by Christie's Hong Kong. "The bowl has deep, rounded sides and is finely decorated on the exterior with a continuous scene of two mandarin ducks swimming in a pond surrounded by lotuses and reeds. Below them are other smaller birds. The foot is encircled by an iron-red scroll." (From the Christie's catalog.)

Detail of a porcelain dish with flattened rim. The dish depicts a landscape scene with rocks, bamboo, and pine trees. Below this scene are three ladies painted in "Famille Verte" enamels. It was made in Jingdezhen during the Kangxi reign (1662–1722) of the Qing dynasty. Diameter: 17.4 cm (6.85 in). © The Trustees of the British Museum, London, UK. This enlargement shows the texture of the "Famille Verte" enamels.

This porcelain vase is painted in Famille Verte enamels on all sides and depicts a garden scene with a large Taihu rock, women enjoying fragrant flowers and burning incense, and children playing. It was made during the Kangxi reign (1662–1722) of the Qing dynasty. Height: 17 5/8 in. (44.8 cm). The Metropolitan Museum of Art, New York, USA.

LEFT TO RIGHT

1. Baluster Vase. Porcelain with overglaze famille verte enamels. It was made during the Kangxi reign (1662-1722). Dimensions: 74.1 x 28 cm (29 3/16 x 11 in.). © National Gallery of Art, Washington, USA.

2. Enameled and gilded porcelain vase painted with flowers, birds, butterflies, and insects in "Famille Verte" enamels. It was made during the Kangxi reign (1662-1722). Height: 72 cm (28.35 in). © The Trustees of the British Museum, London, UK.

3. A "phoenix tail" vase made of Famille Verte porcelain. It was made during the Kangxi period (1662-1722) or later. Height: 17 3/4 in. (45.2 cm). Auctioned in 2011 by Christie's, London, UK. "Enameled around the body with a continuous rocky landscape and a group of resting ducks, the tall, flaring neck depicts a similar scene" (From the Christie's catalog.)

4. Large "lotus pond" baluster jar with cover in famille verte porcelain. It was made during the Kangxi reign (1662-1722). Height: 59 cm (23 1/4 in). It was auctioned in 2014 by Bonham's in London, UK.

LEFT TO RIGHT

1. A double gourd vase made of Famille Verte porcelain. It was made during the Kangxi reign (1662-1722). Height: 17 7/8 in. (45.4 cm). It was auctioned in 2011 by Christie's New York. "The lower and upper bodies are decorated with conjoined lotus sprays. Those on the lower body are set between a chrysanthemum lappet border and a chrysanthemum-filled ruyi collar. Those on the upper body are interspersed with shou characters written in black. All are within decorative borders" (From the Christie's catalog.)

2. A double gourd vase made of Famille Verte porcelain. It was made during the Kangxi reign (1662-1722). Height: 17 3/4 in. (45 cm). It was auctioned in 2020 by Christie's New York. "The upper body is decorated with alternating chrysanthemum blossoms and shou characters. The lower body has a border of pendent ruyi heads containing chrysanthemum scrolls on a stippled ground, all within stylized borders" (From the Christie's catalog.)

3 & 4. A pair of unusual Famille Verte porcelain bottle vases. They were made during the Kangxi reign (1662–1722). Height: 17 7/8 in. (45.4 cm). Auctioned in 2015 by Christie's New York. "Each vase is finely potted with a globular body that rises to a tall, slender neck. They are decorated in iron-red, turquoise, green, and gold, and feature four stylized lotus sprays below the flower-filled cloud collar. This collar hangs from the diaper band on the shoulder, and upright leaf tips rise from it at the base of the neck. Another band of leaf tips hangs from the diaper border at the mouth rim" (From the Christie's catalog.)

Famille Noire (“Black Family”) Porcelain

"Famille Noire" refers to a distinct subtype of decorative Qing dynasty overglaze enamel porcelain featuring a predominantly black background beneath richly colored decoration in the style of "Famille Verte." Like its counterparts famille verte, rose, and jaune, the term originated in 19th-century French connoisseurship and is still used in Western art historical and curatorial discourse to categorize Chinese export porcelains based on enamel palette and ground color.

Famille Noire is not a distinct enamel family but rather a variant of famille verte that uses the same polychrome palette of green, yellow, aubergine, iron red, and black over a white-glazed porcelain body. As with all famille verte wares, the decoration is executed with overglaze enamels and fired in a secondary kiln process at a lower temperature..

Margaret Medley states: “Famille noire is properly a famille verte type, its chromatic drama arising from the black ground, not from any change in enamel chemistry or application.” (The Chinese Potter, 1976)

The black ground in famille noire wares is typically an overglaze enamel applied to glazed and fired porcelain. The black enamel, often derived from manganese- and cobalt-based compounds, was selectively painted into background areas not occupied by main decorative motifs:

• Peonies, lotuses, and flowering branches;
• Birds, butterflies, and mythical animals;
• Courtly scenes or immortals, especially on larger vessels.

This creates a luminous interplay of vivid colors against a deep, velvety black, producing a jewel-like visual effect that is highly prized by historical and modern collectors alike. The black enamel enhances contrast, intensifies color perception, and adds a theatrical quality to the porcelain surface.

According to Rosemary Scott, “The use of a black enamel ground in famille noire enhances the chromatic brilliance of the enamels and suggests a lacquer-like surface, with striking visual impact.” (For the Imperial Court: Qing Porcelain from the Percival David Foundation, 1997)

In institutional and academic usage, Famille Noire is consistently treated as a subcategory of Famille Verte, based on three principal criteria:

1. Shared enamel palette: Green, aubergine, yellow, iron red, and occasional blue—identical to famille verte wares.
2. Shared technique: Overglaze decoration on a white porcelain body, fired in a second kiln.
3. Ground as variant: The black ground is an aesthetic adaptation rather than a technical or material break.

Consequently, major museum collections (e.g., the British Museum, the Metropolitan Museum of Art, and the Victoria & Albert Museum) catalog these pieces as "Famille Verte with black ground" or "Famille Noire (Famille Verte type)."

High market demand for famille noire in late 19th- and early 20th-century Europe, particularly in France and Britain, led to the widespread practice of "clobbering," the retrospective application of black enamel to earlier famille verte wares by dealers or restorers. This was often done to export pieces with sparse decoration to enhance their market appeal by transforming them into "famille noire" objects.

1. Valenstein wrote: “Clobbered wares were a response to market demand rather than kiln innovation. Many so-called famille noire pieces are 19th-century alterations, not authentic Kangxi products.” (A Handbook of Chinese Ceramics, 1989)

These modified wares can sometimes be identified by the following:

• Poorly bonded black enamel;
• Inconsistent wear patterns;
• Overpainting of original motifs;
• Black enamel covering glaze flaws or firing cracks.

Due to their complex history of modification and forgery, genuine Kangxi-period Famille Noire pieces are relatively rare. Authentication often requires scientific testing, including:

• Microscopic pigment analysis
• Thermoluminescence (TL) dating
• X-ray fluorescence (XRF) spectroscopy

Most authenticated Famille Noire porcelains date from the Kangxi reign (1662–1722), particularly the late Kangxi period (ca. 1680–1720), when technical innovations in Jingdezhen enabled more ambitious uses of colored grounds and elaborate enamel schemes. Some revival pieces were made during the Yongzheng and Qianlong reigns, and later 19th-century reproductions, both in China and abroad, further complicated the market and scholarly record.

For this reason, careful provenance research and connoisseurship remain essential in attributing Famille Noire wares.

Famille Noire porcelain occupies a unique place in the taxonomy of Qing enamel wares as a visually striking variation of the Famille Verte tradition, elevated by its dramatic black background and resulting chromatic brilliance. While long admired by collectors, its history is intertwined with the influence of the Western market and altered wares, making scholarly precision essential for its interpretation.

In current museum and academic contexts, Famille Noire porcelain is best described as "Famille Verte with a black enamel ground," which acknowledges its technical continuity and distinctive aesthetic.

Covered jar made in Jingdezhen during the Kangxi reign. Medium: Porcelain painted with Famille Noire enamels. Dimensions: height 26 7/8 in.; 68.3 cm. The MET, New York, USA.

LEFT TO RIGHT

1. Vase decorated with dragons. Made of enamelled Famille Noire porcelain during the Kangxi reign (1662–1722) of the Qing dynasty. Height: 23.88 cm, 9.40 in. © The Trustees of the British Museum, London, UK.

2. Lidded vase decorated with flowers. Made of Famille Noire enamelled porcelain during the Kangxi reign (1662–1722). Height: 39.37 cm, 15.50 in. © The Trustees of the British Museum, London, UK.

3. Square sided vase, decorated with lotus, chrysanthemum, plum and peony. Made of Famille Noire enamelled porcelain during the Kangxi reign (1662–1722). Height: 47 cm, 18.50 in. © The Trustees of the British Museum, London, UK.

4. Vase decorated with flowers, rabbits and birds. Made of Famille Noire enamelled porcelain during the Kangxi reign (1662–1722). Height: 68.58 cm, 27 in. © The Trustees of the British Museum, London, UK.

Square vase with scenes of the four seasons. Porcelain painted in polychrome enamels over a black ground (Famille Noire). Made in Jingdezhen in the 19th century, during the Qing dynasty. Height: 19 1/2 in., 49.5 cm. The MET, New York, USA.

LEFT: A large square vase in Famille Noire porcelain from the 19th century. Height: 21 in., 53.3 cm. Auctioned in 2020 by Christie's New York, USA. "Each side is decorated with birds amongst the Flowers of the Four Seasons, peony and magnolia, lotus, chrysanthemum and prunus, all reserved on a black ground." (from Christie's catalog).

CENTER: A 'five dragon' dish in Famille Noire porcelain. Made during the Kangxi reign, 1662-1722. Diameter: 7 in., 17.7 cm. Auctioned in 2018 by Christie's London, UK. " The dish is decorated to the centre with a famille noire panel enclosing a five-clawed dragon chasing the flaming pearl amongst flame and cloud scrolls, surrounded by two striding dragons chasing the flaming pearl on a green ground. The exterior is decorated with two further striding dragons, all reserved on a bright yellow ground. The base has an apocryphal Hongzhi mark." (from Christie's catalog).

RIGHT: A beaker vase in Famille Noire porcelain. Made during the Kangxi reign, 1662-1722. Height (without the wooden stand): 17 in., 43.2 cm. Auctioned in 2017 by Christie's New York, USA. "The vase is decorated in polychrome enamels with birds amidst hydrangea branches on a black ground divided into three registers by narrow bands further decorated with hydrangea. Raised on a wood stand attached by painted clips." (from Christie's catalog).

Alyx Becerra