Chinese Export Porcelain Tobacco-Leaf Soup Plate

Object Details

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Object Essay

Colorful and exotic “tobacco-leaf” china was made between 1750 and 1800 for table services, garnitures, and tea services. Its patterns have been classified broadly by the palette employed: one type pairs the rose palette of colors with a blue underglaze; the other unites the same palette with green, brown, and iron-red enamels.^{1_{See Forbes, 9 and 14, for a discussion of the origins and uses of the rose palette, and ibid., 27, for a description of the two classifications.}} The emphasis in both types is on the lavish use of colors derived from the mixture of opaque white enamel, beginning during the reign of Yung Chêng (Yong Zheng, 1723–1735), with the palette of translucent colors from the earlier porcelains of K’ang-hsi (Kangxi, 1662–1722). Elaborate floral patterns using the rose palette predominated in China-Trade porcelain during the second half of the 18th century. The dense patterns of the “tobacco-leaf” group made them the most costly.^{2_{The term “tobacco-leaf” was coined in the 20th century. There is no evidence to suggest that these porcelains were ever used in colonial America, although they were very fashionable among wealthy customers in Europe.}}

Both broad and feathery leaves or plumes are included in the “tobacco-leaf” group, suggesting that no single plant was used as the dominant design source. There is some belief, however, that the broad leaves resemble the annona, or custard apple.^{3_{Ibid., 26, discusses the resemblance to the annona’s leaf.}} Furthermore, the flowers seem to have been taken from hibiscus or passion blossoms, and motifs reminiscent of pomegranates may also be seen. Lotus pods were frequently used as the handles on tureens. Phoenixes (feng huang), squirrels (“pine rats” in Chinese), and Oriental figures were sometimes included as well.^{4_{Ibid., 25, identifies the phoenix and squirrel.}} East Indian textiles have been suggested as a possible design source, but the European or Chinese designers who invented these patterns for copying by the Chinese decorators probably relied on a general impression rather than a particular fabric.^{5_{Mudge 1986, 161, speculates on textiles as a design source for “tobacco-leaf” patterns.}}

Ellen Paul Denker and Bert R. Denker

Excerpted from Clement E. Conger, et al. Treasures of State: Fine and Decorative Arts in the Diplomatic Reception Rooms of the U.S. Department of State. New York: H.N. Abrams, 1991.