A Chinese porcelain baluster vase painted in famille-rose enamels with two auspicious scenes centred on the theme of longevity. One side depicts the Daoist immortal Magu, shown in flowing robes beside a deer and accompanied by a youthful attendant. In Chinese symbolism the deer represents longevity and official success, as the word for deer (lu) sounds like the word connected with official rank and prosperity.

The scene belongs to the well-known Magu xianshou tradition — “Magu Celebrating Longevity”, a traditional auspicious theme in which Magu brings blessings of long life. Late Qing porcelain frequently revived earlier decorative subjects, and the Magu xianshou theme can already be found on porcelains of the early eighteenth century.

The reverse shows Shoulao, the god of longevity, identifiable by his high domed forehead, long white beard, gnarled staff and the peach of immortality. Beside him stands a dignified male figure in formal dress holding a ceremonial staff, while behind them a female attendant carries a ceremonial banner pole. Together the two scenes express traditional wishes for long life, honour and prosperity.

The decoration is executed in the fencai (famille-rose) tradition of Jingdezhen figure painting. Jingdezhen was the principal centre of porcelain production in China, often described as the “porcelain capital” of the country. The faces are rendered with soft tonal modelling rather than strong outlines, giving them a delicate appearance, while particular care is evident in the lively painting of the deer and the expressive features of the figures.

Additional decorative interest is provided by raised enamel work. The beard of Shoulao, parts of the robes and ornamental scroll details are executed in piled white enamels applied in relief over the painted surface, a technique widely used in Jingdezhen workshops during the Late Qing period.

The vase is of baluster form with moulded animal-mask handles supporting loose rings at the shoulders.

The faces are rendered in delicate half-tones, their softly faded appearance reflecting the refined skill of the painters of the period and placing the vase among the finer examples of Jingdezhen porcelain of the Late Qing period. The style, palette and combination of figure painting with relief enamel decoration indicate production in Jingdezhen around 1870.

Measurements

Condition
Antique condition. A small chip is present on the upper rim (see photographs). No restorations detected under UV examination. Minor kiln marks and natural firing lines are visible on the base, consistent with traditional porcelain manufacture. The stand is not included.



Carefully packed using appropriate materials.

Please study all photographs as they form part of the description.
Questions are welcome.

A Chinese porcelain baluster vase painted in famille-rose enamels with two auspicious scenes centred on the theme of longevity. One side depicts the Daoist immortal Magu, shown in flowing robes beside a deer and accompanied by a youthful attendant. In Chinese symbolism the deer represents longevity and official success, as the word for deer (lu) sounds like the word connected with official rank and prosperity. The decoration is executed in the fencai (famille-rose) tradition of Jingdezhen figure painting. Jingdezhen was the principal centre of porcelain production in China, often described as the “porcelain capital” of the country. The faces are rendered with soft tonal modelling rather than strong outlines, giving them a delicate appearance, while particular care is evident in the lively