View source for Doucai

{{Short description|Technique in painting Chinese porcelain}}
{{Italic title}}
[[File:Percival David Collection DSCF3161 10.jpg|thumb|Small cup with the "Five Treasures", [[Chenghua Emperor|Chenghua]] reign mark, 2.9 × 7 cm, [http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=3180781&partId=1 PDF.767].]]
'''''Doucai''''' ({{zh|c=斗彩|w=tou-ts'ai}}) is a technique in painting [[Chinese porcelain]], where parts of the design, and some outlines of the rest, are painted in [[underglaze]] blue, and the piece is then [[ceramic glaze|glazed]] and fired. The rest of the design is then added in [[overglaze enamels]] of different colours and the piece fired again at a lower temperature of about 850°C to 900°C.<ref>Medley, 204; Pierson, 14–15</ref>
The style began in the 15th century under the [[Ming dynasty]] in the [[Jingdezhen ware|imperial factories at Jingdezhen]], and its finest products come from a few years in the reign of the [[Chenghua Emperor]], mostly small pieces like the famous [[Chicken Cup (Chenghua)|Chicken cups]].<ref>Sotheby's; Rawson, 361</ref>  The style was discontinued after a few decades, as a suitable overglaze blue was developed, but later revived under the [[Qing dynasty]]. It is not to be confused with the ''[[wucai]]'' style, which was a related early technique for [[polychrome]] painting.<ref>Pierson, 14–15; Medley, 204–207</ref> ''Doucai'' can be translated as "contrasted colours",<ref>Grove, Nillson</ref> "fitted colours",<ref>Valenstein, 190</ref> "colours which fit together"<ref>Nillson</ref> or "dove-tailed colours".<ref>Medley, 204</ref>
[[File:Pair of Bowls (Wan) with Dragons Chasing Flaming Pearl LACMA 58.51.2a-b (4 of 4).jpg|thumb|Bowl with dragon chasing flaming pearl, [[Kangxi]] reign, 1662–1722]]
The technique was driven by the restrictions of the materials available at the time. The Chinese had developed high-fired [[porcelain]], and found two colours that produced good results when painted under the glaze, even when fired at high temperatures. [[Blue and white porcelain]] was being produced in enormous quantities, and was well understood. There was also a less reliable red, derived from copper.<ref>Vainker, 180–181, 184–185, 187–188</ref> But the other colours known to the Chinese turned black or brown at the temperatures required for porcelain; indeed a number of surviving examples have discoloured enamels but unaffected bodies and underglaze colour, after being caught in one of the many fires in Chinese palaces.<ref>Christie's</ref>  Furthermore, the [[cobalt]] blue used for blue and white discoloured if used over the glaze, even at lower temperatures.  The Jindezhen potters eventually arrived at the ''doucai'' technique to overcome these problems.
==History==
[[File:Percival David Collection DSCF3161 08.jpg|thumb|Interior of Chenghua dish, 23 millimetres high, 84 wide, [http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=3181009&partId=1 PDF,A.780]]]
Polychrome [[cloisonné]], using enamels on thin metal bodies, had been introduced as a "courtly invention of the early fifteenth century made exclusively for palace and court temple use".<ref>Clunas and Harrison-Hall, 82–86, 97, 86 quoted</ref>  It tended to use porcelain shapes, and the imperial potters may have felt pressure to compete. Before 1850 a range of two-colour combinations, on a white background, were ordered by the court.<ref>Clunas and Harrison-Hall, 88</ref>  The ''doucai'' technique may have been derived from that of cloisonné.<ref>Rawson, 190</ref>
The ''doucai'' technique appeared in the reign of the [[Xuande Emperor]] (1426–1435), from which a dish with red and green enamels was excavated at the Jindezhen kilns.<ref>Vainker, 190</ref>  The technique achieved its first and finest flowering in the last years of the [[Chenghua Emperor]], who reigned from 1464 to 1487, but the ''doucai'' pieces all date between 1472 and 1487, and are extremely rare.<ref>Vainker, 191–192; Sotheby's</ref>  The emperor seems to have taken a personal interest in the wares, which are mostly small and fit comfortably in the hand. According to tradition, his ambitious concubine and former nanny [[Wan Zhen'er|Consort Wan]] encouraged him in this taste, and may have inspired it.  Objects decorated with chickens were symbols of fertility and often given at weddings, and it seems Wan liked to give the emperor a daily gift, which in the case of the "[[Chicken Cup (Chenghua)|chicken cups]]" may have represented her desire for children.<ref>[http://antiques.cherryhill.tw/article6.html Cherry Hill Antiques], with the story from Chinese tradition; Sotheby's; Valenstein, 172–174; Nillson</ref> He was also a devout Buddhist, and several pieces have Buddhist inscriptions and symbols.<ref>Vainker, 192</ref>
After the Chenghua period the quality of imperial porcelain slowly declined for the rest of the Ming dynasty, and when quality revived under the Qing the Chenghua period had already acquired a reputation, which it has largely retained, as the finest period of Chinese porcelain.<ref>Valenstein, 170; Vainker, 191–192; Sotheby's</ref>
[[File:Percival David Collection DSCF3161 06.jpg|thumb|[[Chenghua Emperor|Chenghua]] pieces, 1464–87; in the foreground a "chicken cup" like that sold in 2014 at Sotheby's.]]
Chenghua wine cups were already fetching very high prices among collectors during the reign of the [[Wanli Emperor]] (1573–1619),<ref>Vainker, 193</ref> and in the 18th century there are various literary references to "chicken cups" as objects of great value, including an episode in ''[[Dream of the Red Chamber]]'' by [[Cao Xueqin]] (d. 1763), one of the [[Four Great Classical Novels]] of China.  The [[Qianlong Emperor]] wrote a poem about the cups.<ref>Sotheby's</ref>
[[File:1941.701a-b - Pair of Cups.jpg|thumb|[[Yongzheng Emperor]] mark and period, (1723–1735)]]
There was a certain revival of the style in the Wanli period, and a larger one under the [[Yongzheng Emperor]] (1723–1735) of the Qing dynasty.<ref>Medley, 241–242</ref> Pieces were occasionally produced thereafter, in particular of the chicken cups and stem cups with grapes, two of the most admired designs of the Chenghua period.<ref>Rawson, 361; [http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=3181011&partId=1&searchText=doucai&page=1 British Museum], [[Percival David Foundation|PDF]], A.779, Chenghua stem cup with grapes (expand second curator's note)</ref>  The discovery and examination by  the archaeologist Liu Xinyuan ({{lang|zh|劉新園}}) and his team of a heap of discarded broken porcelains of the Chenghua period at the imperial kiln site at [[Jingdezhen]] "revolutionised scholars' knowledge of patterns and forms of doucai".<ref>[http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=3181009&partId=1 British Museum, PDF, A.780], expand lower curator's note.</ref>
In 2014, the "Meiyintang Chicken Cup", a small ''doucai'' wine cup 8.2 cm wide, achieved a world record price for Chinese ceramics, selling at [[Sotheby's]] in [[Hong Kong]] for 281,240,000HKD (US$36.05 million),<ref>Sotheby's</ref><ref>[http://www.metmuseum.org/art/collection/search/42515 Another chicken cup] in the [[Metropolitan Museum of Art]]</ref> bought by [[Liu Yiqian]].  Later pieces can also fetch high prices.<ref>[http://www.sothebys.com/en/auctions/ecatalogue/2014/fine-chinese-ceramics-works-art-l14210/lot.106.html Another Sotheby's sale], 2014, see Lots 104–106</ref>
==Characteristics==
The rare Chenghua pieces are small, but of very high quality. They are thin-walled porcelain of the standard Jingdezhen porcelain of the time. Decoration is restrained, with relatively large parts of the surfaces left as white background; often bowls are only decorated on their outside.  The colours in Chenghua pieces are the underglaze blue, and overglaze red, green, yellow and an [[aubergine]] (eggplant) purple-brown.  This last is transparent and can be used over the other colours, requiring yet another firing.<ref>Vainker, 190; Sotheby's; Grove</ref>  Most pieces carry a six-character [[reign mark]], and the Chenghua mark became "the most widely imitated of all marks" in later periods.<ref>Vainker, 191</ref>
[[File:明成化 景德鎮窯鬥彩雞缸杯-Chicken Cup MET 1987 85 2015AT 003 (cropped).jpg|thumb|Chicken cup, [[Chenghua Emperor|Chenghua]] mark and period (1465–87)]]
The small "chicken cups", typically only some 8 cm wide and 4 cm high, have been often imitated in later periods. The subject was inspired by paintings.  The Chenghua examples used successive layers of enamel to represent texture and shading; by imitations from the 18th century, this could be achieved within a single coat.<ref>Sotheby's; [http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=3181048&partId=1 British Museum Chenghua example], PDF,A.748; [http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=3181084&partId=1 British Museum Qianlong example], PDF,A.714 – see lower curator's notes</ref>  Doucai pieces from the 18th century and later are either imitations of the small Chenghua pieces, or much larger shapes typical of contemporary wares, where ''doucai'' has been adopted as a technique largely as a nod to the past.<ref>[http://blog.tooveys.com/2013/05/chinese-doucai-porcelain/ "Delicacy and Brilliance, Chinese Doucai Porcelain"], Toovey's blog, May 2013</ref>
The usual distinction made with the ''wucai'' technique, which also combines underglaze blue with overglaze enamels in other colours, is that in ''doucai'' the whole design is painted or outlined in the blue, even if parts are overlaid by the enamels and invisible in the finished product.<ref>Grove; Vandelstein, 175; [http://gotheborg.com/glossary/wucai.shtml Nillson on ''wucai'']</ref> However, this is not true of all pieces classified as ''doucai'', especially from the 18th century onwards. Fragments of incomplete examples, only done in blue, have been excavated from waste tips at the kiln.<ref>Sotheby's</ref> In ''wucai'' only parts of the design include blue, and these cover wider areas, and are often rather freely painted.<ref>Medley, 205–207</ref>
<gallery widths="200px" heights="200px" perrow="4">
File:Vase (Ping) in the Form of a Mellon with Pine, Bamboo, Plum, Camellia, and Dragon LACMA M.71.65.8.jpg|Vase with Pine, Bamboo, Plum, Camellia, and Dragon [[Yongzheng]] reign, 1723–1735
File:Covered bowl with dragons in the Taoist Eastern Ocean, China, Jingdezhen, Jiangxi province, Qing dynasty, Yongzheng emperor, porcelain with doucai - Asian Art Museum of San Francisco - DSC01395.JPG|Covered bowl with dragons in the Taoist Eastern Ocean, Yongzheng reign
File:Pair of large dish with dragon and phoenix design, 1 of 2, China, Jingdezhen kiln, Qing dynasty, Yongzheng period, 1723-1735, doucai enamels - Matsuoka Museum of Art - Tokyo, Japan - DSC07273.JPG|One of a pair of large dishes with dragon and phoenix design, Yongzheng period, 1723–1735
File:Pair of large dish with dragon and phoenix design, 2 of 2, China, Jingdezhen kiln, Qing dynasty, Yongzheng period, 1723-1735, doucai enamels - Matsuoka Museum of Art - Tokyo, Japan - DSC07276.JPG|Underside of the last, Yongzheng period, 1723–1735
File:Dish, Yongzheng Reign, 1723-1735, underglaze blue and overglaze doucai enamels on porcelain - National Gallery of Art, Washington - DSC09805.JPG|Dish, Yongzheng Reign, 1723–1735
File:Covered box with flowers, China, Jingdezhen, Jiangxi province, Qing dynasty, Qianlong emperor, porcelain with doucai - Asian Art Museum of San Francisco - DSC01405.JPG|Covered box with flowers, [[Qianlong Emperor]], 1735–1796
File:Jar (Ping) with the Eight Immortals (Baxian) LACMA 53.41.6a.jpg|''Wucai'' jar with the [[Eight Immortals]], [[Wanli Emperor|Wanli]] reign, 1573–1620
</gallery>
== Notes ==
{{Reflist|30em}}
==References==
{{commons category}}
* "Christie's": [http://www.christies.com/lotfinder/Lot/an-important-and-very-rare-ming-imperial-5448059-details.aspx Sale 2861, "The Imperial Sale", Lot 3582], 1 June 2011, "An important and very rare Ming imperial doucai stemcup"
* [[Craig Clunas|Clunas, Craig]] and Harrison-Hall, Jessica, ''Ming: 50 years that changed China'', 2014, British Museum Press, {{ISBN|9780714124841}}
* "Grove", Medley, Margaret, [[Oxford Art Online]], section "Ming; Jingdezhen porcelains, Polychome" in "China, §VIII, 3: Ceramics: Historical development"
* Medley, Margaret, ''The Chinese Potter: A Practical History of Chinese Ceramics'', 3rd edition, 1989, Phaidon, {{ISBN|071482593X}}
* Nillson, Jan-Eric, [http://www.gotheborg.com/glossary/doucai.shtml "Doucai Chinese porcelain decoration"], in ''Chinese porcelain glossary'', Gotheborg.com
* Pierson, Stacey, ''From Object to Concept: Global Consumption and the Transformation of Ming Porcelain'', 2013, Hong Kong University Press, {{ISBN|9888139835}}, 9789888139835, [https://books.google.com/books?id=B4SD9lv7ZBUC&pg=PA14 google books]
* [[Jessica Rawson|Rawson, Jessica]] (ed). ''The British Museum Book of Chinese Art'', 2007 (2nd edn), British Museum Press, {{ISBN|9780714124469}}
* "Sotheby's": [http://www.sothebys.com/en/auctions/2014/meiyintang-chicken-cup-hk0545.html the "Meiyintang Chicken Cup"], [[Sotheby's]] Hong Kong, Sale HK0545 Lot: 1, 8 April 2014
* Vainker, S.J., ''Chinese Pottery and Porcelain'', 1991, British Museum Press, 9780714114705
* Valenstein, S. (1998). ''[http://libmma.contentdm.oclc.org/cdm/compoundobject/collection/p15324coll10/id/38422/rec/3 A handbook of Chinese ceramics]'', Metropolitan Museum of Art, New York. {{ISBN|9780870995149}} (fully online)
{{Chinese ceramics}}
[[Category:Chinese porcelain]]
[[Category:Types of pottery decoration]]