Ⅰ. Decorative Items

The decorative items in the palaces of the Forbidden City during the Qing Dynasty can be regarded as a collection of exquisite art treasures from various dynasties. With their exceptional craftsmanship and beautiful designs, they were considered important artworks in the Qing court. The many items displayed within the palaces or rooms not only served an aesthetic purpose but also had symbolic functions, such as praying for blessings, warding off evil, and displaying authority. According to archives and physical records, during the Qianlong period alone, there were four main types of cloisonné enamel decorative items produced: ordinary decorative items, antique-style decorative items, animal-shaped decorative items, and screen-linked decorative items. These decorative pieces not only showcase the vibrant court life but also reflect the royal rituals and rules. Furthermore, they offer insights into the cultural and artistic characteristics of the Qianlong period.

1. Ordinary Decorative Items

The term “ordinary decorative items” refers to those commonly placed on tables or desks, such as vases and jars. Examples of cloisonné enamel vases include the Mei vase, long-neck vase, celestial sphere vase, six-sided earred vase, double-connected brocade vases, duck-neck vase, double-tube vase, hero vase, hollow spinning heart vase, cong-style vase, moon-holding vase, garlic-head vase, and gourd vase, among others.

2. Antique-style Decorative Items

Due to Emperor Qianlong’s love for antiques and his admiration for classical styles, a large number of antique-style decorative items appeared during his reign. These items were typically modeled after the bronze vessels and designs from the Shang and Zhou dynasties, including forms such as ding cauldrons, you vessels, gong cups, gui vessels, bells, hu vases, bian pots, lei jars, lian boxes, yan steamers, zun vases, and zhi cups, among others. The designs were simple yet elegant, and the craftsmanship was exceptionally fine. The patterns on these items usually featured beast masks and banana leaf motifs. Such pieces are frequently documented in historical records.

3. Animal-shaped Decorative Items

Animal-shaped decorative items also appear in large numbers in the archives, standing out as unique and innovative creations. These cloisonné enamel pieces take on a variety of animal forms, including mythical creatures like the qilin, lion, phoenix, and heavenly deer, as well as real animals such as pigeons, cranes, elephants, and ducks. There are also vessels shaped like animals, such as the “goose-shaped pot” and “duck-neck vases.” These animal designs are not only distinctive but also highly lifelike. Some of these creatures are based on real animals from nature, while others are mythical or legendary auspicious beasts. Whether real or imagined, all of them carry symbolic meanings. Some animals are imbued with auspicious connotations because of their religious significance, while others are assigned good luck meanings due to wordplay on their names.

The “Heavenly Rooster” is a legendary mythical bird. Since “chicken” (鸡) sounds similar to “fortune” (吉), it is believed to have the power to ward off evil. The “Lu Duan” is a symbol used by emperors to distinguish right from wrong, making them wise and clear-sighted rulers. The “luduan” (甪端) is associated with the wild duck, and since “duck” (鸭) shares the same sound as “first place” (甲), it symbolizes success in the imperial exams and a wish for guaranteed success in every test.

At the same time, the Qing court’s animal-shaped decorative items often combined different animals to create auspicious meanings through phonetic wordplay. The elephant, for example, is imbued with a positive connotation, and when combined with a vase, it symbolizes the phrase “peace and harmony” (太平有象). During the Qianlong period, there were also combinations of eagles (鹰) and bears (胸), which sound like “hero” (英雄), and these enamel items were called “Hero Vases.” The pairing of the sea swallow and turtle represents the phrase “peaceful seas and rivers” (海晏河清), which originated from the frequent floods of the Yellow River during the Qing Dynasty. The Qianlong Emperor even made six southern inspections to address the issue. The phrase “sea and river calm” symbolizes a peaceful world, and the creation of enamel pieces with this theme reflects the emperor’s attention to flood control in the Yellow River.

4. Screen-linked Decorative Items

The “Screen-linked” decorative items reflect the elegance and luxury of the Qing palace halls. They mainly include hanging screens, inserted screens, folding screens, and wall vases. The designs of these items predominantly feature landscapes, such as the Five Mountains, Mountain Village Celebration, and Clear Moon and Gentle Breeze, with additional motifs of flowers, antiquities, and figures. In addition to the patterns, some of these items also feature poems written by Emperor Qianlong or couplets composed by his close officials.

Ⅱ. Scholar’s Supplies

Writing implements are artworks that reflect the character and cultivation of scholars, combining both practicality and aesthetic value. Rich in meaning, these items have been highly cherished by intellectuals. Over the course of different dynasties, traditional writing tools, such as the “Four Treasures of the Study” (brush, ink, paper, and inkstone), were complemented with new items, forming a series of auxiliary tools, including the brush washer, ink box, water container for inkstones, and paperweight. Emperor Qianlong had an extraordinary passion for poetry, calligraphy, and artwork. As both a scholar and a ruler, he had high standards for writing supplies. During his reign, the variety of writing tools made from cloisonné enamel expanded, with items like brush holders, brush washers, pen holders, ink trays, inkstone boxes, ink rings, paperweights, and water containers. These items were not only uniquely designed and exquisitely crafted, but they also broke away from the traditional forms of writing tools.

Additionally, complete sets of cloisonné enamel stationery began to emerge during this period, such as the cloisonné enamel five-peaked dragon-patterned brush holder, water container, ink tray, and warm inkstone box. These items had matching patterns and glaze colors, creating a harmonious and unified decorative effect. Among these, the warm inkstone box was especially unique. Designed to prevent inkstones from freezing in the harsh winter, the box contained a shallow dish that held two square ceramic inkstones, with hot water placed beneath to keep the inkstones warm and moist, ensuring smooth writing. This distinctive item was specifically crafted for the winter months.

Ⅲ. Tomb & Funeral Ritual Items

In the Qing Dynasty, ceremonial rites such as ancestral tomb sacrifices and visits to imperial tombs were very important cultural practices, meant to honor the achievements of ancestors and instruct future generations. During these ceremonies, Emperor Qianlong used gold-bodied cloisonné cups and plates, exclusively reserved for his use, symbolizing the importance he placed on these rituals and the supreme authority of the emperor. There were three types of gold-bodied cloisonné cups and plates (金胎珐琅杯盘): one made using cloisonné enamel, one crafted with engraved designs filled with enamel glaze, and one with painted enamel. The typical design consisted of a lotus-shaped or round plate, with a raised center that served as a stand for the cup. Both the bottom of the cup and the plate were inscribed with the “Qianlong Imperial Edition” mark, showcasing exquisite craftsmanship.

Ⅳ. Other Enamel Artifacts Exhibition