Chinese Porcelain 'Hundred Birds' Charger with Floral and Medallion Motifs

Name: Chinese Porcelain 'Hundred Birds' Charger with Floral and Medallion Motifs
Brand: Looty
Availability: LimitedAvailability

Large Chinese porcelain charger with colorful 'Hundred Birds' and floral design, underglaze blue patterned reverse. - view 1

1/2

Estimated value

$250 - $800

Rarity

Average(4/10)

CHINESE PORCELAIN 'HUNDRED BIRDS' CHARGER WITH FLORAL AND MEDALLION MOTIFS: IDENTIFICATION

This is a substantial Chinese porcelain charger, meticulously hand-painted with a vibrant 'Hundred Birds' design, a popular motif symbolizing prosperity and longevity. The central medallion features a radiant pheasant amidst blooming peonies and other flowers, skillfully rendered in overglaze enamels. Surrounding this, the composition unfolds into an intricate patterned ground of red iron oxide and cobalt blue ornamentation, punctuated by auspicious cloud (ruyi) and quatrefoil cartouches depicting various birds and auspicious objects. The reverse bears underglaze blue brushwork in a classic scrolling pattern.

Compare with other Asian art pieces in the archive: Chinese Archaistic Carved Jade Figure, Hongshan/Shang Style, Balinese Art Deco Wooden Sculpture of a Winged Celestial (Kinnari), Chinese Archaistic 'Taotie' and 'Chilong' Jade Pendant.

CROSS-CULTURAL PARALLELS

Where This Object Echoes

Chinese Decorative ArtsQing Dynasty (1644-1912)

The 'Hundred Birds' motif, symbolizing prosperity and good fortune, and the use of 'famille' enamels were common across various dynasties, particularly popular during the Qing for high-end ceramics.

Ritual & Ceremonial Use

•Such large chargers were often displayed prominently in homes of wealthy merchants or scholar-officials, symbolizing social status and expressing auspicious wishes. They might also have been used for lavish banquets.

Meaning Through Time

Imperial China

These chargers served as functional objects (serving dishes) and decorative displays, often commissioned with specific auspicious motifs for significant events or as gifts.

Late 19th - early 20th Century

With increasing Western demand, similar chargers were heavily produced for the export market, sometimes incorporating elements attractive to foreign tastes, though still maintaining traditional Chinese iconography.

SCARCITY

Average55-70%

CommonLegendary

Typical antique shop fare. Requires some searching but regularly available. This is where most genuine antiques fall.

Rarity 4/10. Curiosa currently catalogues 33 asian items at rarity 4 or higher.

Typical Characteristics

Standard antique shop items
Regularly available
Moderate collector interest

Confidence Factors

The 'Made in Spring' mark ('Chun Zao') on the reverse is an unusual and somewhat generic studio mark, not a standard imperial reign mark, which raises questions about specific attribution.
While the style is consistent with late Qing to early Republican period export ware, the quality of some brushstrokes and the generic mark warrant careful inspection for later reproductions.
Without clearer images of the footrim, material details, and a close-up of the mark, a precise dating and attribution are challenging.

Expert review recommended. Consider consulting a specialist before making purchasing decisions.

How does authenticity detection work?

ASIAN ART SCHOLAR'S TAKE

Asian Art Specialist

East Asian Art Expert

My confidence is good for identifying it as a Chinese porcelain charger with familiar late Qing/early Republican stylistic traits. However, the exact dating and specific attribution are tempered by the generic nature of the mark and the lack of detailed images of key diagnostic areas like the footrim and mark inscription.

KEY EVIDENCE

1The overall decorative scheme, featuring a central bird and floral medallion surrounded by a patterned ground and cartouches, is characteristic of Chinese export porcelain from the late Qing to early Republican periods.
2The 'Chun Zao' (Spring Made) mark on the reverse is a studio or artistic name, rather than an imperial reign mark, indicating non-imperial production, possibly for the domestic or export market.
3The combination of underglaze blue for the reverse pattern and overglaze enamels for the front decoration aligns with common polychrome porcelain techniques of the era.
4The dense and highly detailed ornamentation, often referred to as 'Mandarin palette' or similar, points towards a commercial production intended to be visually rich.

UNCERTAINTIES

•The 'Chun Zao' mark is not a commonly documented imperial mark, and while it could denote a specific workshop, it doesn't offer direct dynastic attribution, necessitating closer material authentication.
•The exact manufacturing date relies heavily on visual assessment of the enamel palette, glaze characteristics, and potting style, which can be difficult to ascertain definitively from photographs alone.

WHAT WOULD IMPROVE CERTAINTY

→A high-resolution, magnified image of the 'Chun Zao' mark, including its calligraphy and surrounding glaze quality, is crucial for better interpretation.
→Detailed images of the footrim, including any unglazed areas and the nature of the porcelain body, would aid in dating and authenticity assessment.
→Examination of the piece in person to assess the weight, tactile quality of the glaze, and any subtle firing imperfections would be highly beneficial.
→Seeking an expert appraisal from an accredited Chinese porcelain specialist who can examine the piece firsthand and compare it to documented examples.

CONDITION & GRADE

Condition

The primary image suggests good overall condition with strong color retention. A close examination, particularly of the enamels, would be needed to detect any rubbing or loss. The reverse shows some expected firing imperfections and possibly minor wear to the underglaze blue. The wire hanger is utilitarian and not original to the piece.