19th C. Narrative Mandarin Palette Porcelain Vases Depicting Imperial Cycle - Set of 2

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Narrative Mandarin Palette Porcelain Vases Depicting an Imperial Cycle of Duty and Ceremony

Jingdezhen kilns, Qing Dynasty, mid-19th century
Porcelain … Read more Narrative Mandarin Palette Porcelain Vases Depicting an Imperial Cycle of Duty and Ceremony

Jingdezhen kilns, Qing Dynasty, mid-19th century
Porcelain with overglaze famille rose enamels
Dimensions: 10 inches high x 3 inches square (each)

This exceptional pair of Chinese export porcelain vases showcases a continuous narrative across four panels, rendered in the Mandarin Palette tradition with vibrant famille rose enamels. Produced at the Jingdezhen kilns during the Daoguang to early Tongzhi period (circa 1820–1870), the vases depict a moral and ceremonial cycle of imperial authority, military duty, and courtly refinement.

Panel 1 presents an audience scene: a high-ranking emperor or official seated within an elevated pavilion, attended by ministers. His robe, headdress, and throne indicate imperial stature. This upper register is architecturally connected to the gateway scene below, setting the stage for imperial command or reception.

Panel 2, directly beneath, shows a mounted Mandarin warrior passing through a fortified archway inscribed with the characters 正门 (Zhèng Mén), meaning “Main Gate.” His gesture and attire suggest either a formal departure under imperial order or a victorious return. The gateway signifies the transition between the court and the external world of duty.

Panel 3 portrays a ceremonial procession, with the mounted figure accompanied by female attendants and banner bearers beneath a grand phoenix-feathered standard—symbols of rank, celebration, and imperial sanction.

Panel 4 shifts into a serene garden setting with two ladies standing amidst flowering plants and stylized rocks, embodying feminine elegance and domestic harmony.

Together, the vases narrate a Confucian ideal of service, hierarchy, and cultivated life—deeply appealing to 19th-century Western collectors drawn to imperial spectacle and refined storytelling.

This setting often symbolizes:
processional Imperial or official life, with figures either entering or exiting a palatial complex or government building.

The mounted horsemen depicted at the gates are frequently military officials, messengers, or nobles, signifying rank, power, or narrative transitions—such as arrivals, departures, or ceremonial visits.

The architecture (arched gates, tiled roofs, and blue “brick” façades) is stylized but based on classical Chinese fortress and palace design.

This iconography adds a layer of storytelling and elevates the decorative value for export markets, where such exoticized imperial scenes fascinated European collectors.

It’s often referred to as

“Mandarin Figures” or “Mandarin Scene” pattern — this refers to the richly dressed figures in narrative courtly or domestic scenes.

“Palace Scene” or “Court” Scene”—especially when the figures are shown before gates, in pavilions, or surrounded by architectural elements.

“Warrior or Horseman before the Gate” motif — in collector and auction contexts, scenes like yours (with riders before palace gates) are sometimes labeled this way when describing specific versions of the broader Mandarin Palette tradition.

Background:

These types of vases were especially popular in the late 18th and early 19th centuries, made in Jingdezhen for export, and tailored to appeal to European tastes through elaborate storytelling and exotic imagery.

There is no single official name for this exact pattern, but it falls within a well-known category of "Mandarin Palette" or "Mandarin Pattern" porcelain, which is a recognized term in the world of Chinese export ceramics.

However, to be more specific:

It’s often referred to as

“Mandarin Figures” or “Mandarin Scene” pattern — this refers to the richly dressed figures in narrative courtly or domestic scenes.

“Palace Scene” or “Court” Scene”—especially when the figures are shown before gates, in pavilions, or surrounded by architectural elements.

“Warrior or Horseman before the Gate” motif — in collector and auction contexts, scenes like yours (with riders before palace gates) are sometimes labeled this way when describing specific versions of the broader Mandarin Palette tradition.

Background:

These types of vases were especially popular in the late 18th and early 19th centuries, made in Jingdezhen for export, and tailored to appeal to European tastes through elaborate storytelling and exotic imagery.

Pair of Chinese Export Porcelain Vases with "Mandarin Figures Before the Gate" Motif, Qing Dynasty, 19th Century

A finely painted pair of Chinese export porcelain vases, decorated in the Mandarin Palette with vibrant famille rose enamels, dating to the 19th century. Each vase features a squared baluster form with a flared neck and is adorned with elaborate figural scenes characteristic of the "Mandarin Figures" tradition.

The primary panels depict noble horsemen approaching a grand palace or fortified gate, rendered in architectural blue with purple doors and flanked by aristocratic figures within a pavilion setting above. These courtly tableaux are framed by delicately painted foliage, auspicious clouds, and ornamental borders, reflecting the Qing Dynasty's fascination with pageantry and imperial life.

Executed in rich overglaze enamels with fine attention to costume detail, facial expressions, and narrative staging, this pair exemplifies the "Palace Scene" or "Figures Before the Gate" variation within the broader Mandarin export genre. Unmarked, as typical for the period, and retaining their original unglazed bases.

A superb example of 19th-century Chinese porcelain made for the European market, these vases offer both decorative charm and historical storytelling. See less