Liuyeping" vase, China, Qing dynasty, Kangxi period, 1661- 1772.
Blue and white underglaze glazed porcelain.
Presents restoration in the mouth.
With seal on the base.
Measurements: 35 x 14 x 14 cm.
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BID HISTORY
DESCRIPTION
Liuyeping" vase, China, Qing dynasty, Kangxi period, 1661- 1772.
Blue and white underglaze glazed porcelain.
Presents restoration in the mouth.
With seal on the base.
Measurements: 35 x 14 x 14 cm.
Porcelain vase decorated with a court scene in blue on white. This is a style known as "blue and white ceramics" characterized by underglaze decoration with blue pigments, usually cobalt oxide, on a white background. The Long Eliza design became popular in the Netherlands in the late 19th and early 20th centuries thanks to the chinoiserie trend. European porcelain manufacturers copied this design from the Kangxi period (1662-1722).
The Kangxi Emperor was one of the most important monarchs in Chinese history, and in fact his reign of sixty-one years, parallel to that of Louis XIV in France, is the longest in the history of the country, and established the power of the new Qing dynasty. His was a period of cultural splendor, thanks largely to the intense work of artistic patronage developed by the emperor himself. Since the Qing was a dynasty of foreign (Manchu) origin, Kangxi strove to reaffirm his legitimacy as absolute monarch of China through the search for a balance between respect for Manchu traditions and Chinese forms of government, also assuming the role of an enlightened ruler of Confucian model. The emperor himself practiced calligraphy and painting, the two most highly regarded arts in China, and maintained Zhu Xi's Neo-Confucian canon as the cultural yardstick on which the imperial examinations were based. In this way, the Kangxi Emperor promoted the idea of the new dynasty as the legitimate successor of the previous Ming dynasty, extolling its achievements. The emperor developed an important work to support literature, and also promoted the fine arts. In 1661 the imperial workshops were founded in Beijing, where sumptuary objects were produced for the court, from porcelain to paintings and ritual objects. Silk production workshops were also established at this time in the southern cities of Suzhou, Hangzhou and Jiangning,
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