Private collection: London
Similar Example:
Mounted Oriental Porcelain, The J Paul Getty Museum, California, 1982 – colour plate 7. This group contains a standing boy very much in the style of the recumbent figures – both in dress and decoration.
The figures lie back supported by drum shaped pillows – each with the left knee bent up and the right arm tucked behind the head. One figure holds a piped musical instrument in the left hand, while the other holds a lotus stem – the leaf billowing out, above the body, in the form of a headrest. The boys’ shaven heads retain a tear shaped tuft of hair above each forehead, and their faces bear half smiles – the white glaze enlivened by the red of their lips. They wear brightly enamelled yellow coats decorated with clouds and iron red phoenix medallions – the baggy trousers with prunus branches on a white ground.
A similar example is to be found in ‘Mounted Oriental Porcelain’, The J Paul Getty Museum, California, 1982 – colour plate 7. This group contains a standing boy very much in the style of the recumbent figures – both in dress and decoration.
This charming and exceptionally rare pair of reclining porcelain boys, each holding a symbolic object, embodies key themes of prosperity, harmony, and cultural refinement in Chinese decorative arts. Figures of boys were especially popular in Kangxi-period porcelain (1662–1722), symbolizing abundance, good fortune, and the wish for many sons, a fundamental ideal in traditional Chinese family values.
One boy holds a lotus leaf (荷叶, hé yè), a powerful emblem of purity, peace, and renewal. The lotus, which rises from muddy waters to bloom unstained, is a central symbol in Buddhism, representing spiritual transcendence and integrity. Additionally, the word “hé” (荷, lotus) is a homophone for harmony (和), reinforcing aspirations for a peaceful and prosperous life. The imagery of a child with a lotus is often associated with the phrase “hehe erxian” (和合二仙)—the Twin Immortals of Harmony and Union, deities who personify joy and marital bliss.
The second boy cradles a musical instrument, a symbol of scholarly refinement, joy, and cosmic harmony. In Confucian philosophy, music was considered essential to a balanced and well-ordered society, and instruments like the qin (古琴, gǔqín) were associated with wisdom, education, and the cultivated life of a scholar. Music also signified celebration and happiness, aligning with the Daoist principle of living in harmony with nature.
Rendered in famille verte enamels, this pair exemplifies the finest achievements of Kangxi-period porcelain, distinguished by its brilliant translucent greens, rich yellows, and iron-red accents. The famille verte palette, celebrated for its vibrant yet sophisticated aesthetic, was particularly favored for its ability to depict intricate details with remarkable clarity. The delicacy of the enameling, the expressive facial features, and the naturalistic reclining postures suggest that these figures were produced at the imperial kilns in Jingdezhen, reflecting the high technical mastery of the period.
Figures like this from the Kangxi period are extremely rare, and pairs that have remained together are even more exceptional. The present examples, with their unusual reclining posture and deeply symbolic attributes, stand out as superb and highly collectible works, offering a glimpse into the refined artistic sensibilities of elite collectors of the time.
Thermoluminescence test sample nos. p205j25 and p205j24 confirm this dating.
