Varieties of Monochrome Yellow Lead Glazes in the Kangxi Period: A Study with Instrumental Color Measurement

Author: Professor Nona Dronova, D.Sc.ORCID: https://orcid.org/0009-0007-4867-9074License: Text — CC BY 4.0, Images — CC BY-SA 4.0DOI: 10.5281/zenodo.16880660 Abstract This study examines a monochrome yellow lead-glazed porcelain vase of the Kangxi period (1662–1722), decorated with an incised phoenix (anhua) design beneath the glaze. The research focuses on the classification of Kangxi-period yellow monochrome glazes, their technological characteristics, and their chromatic parameters. Instrumental RGB color measurement of the glaze surface yielded RGB(173, 156, 131), corresponding to a warm ochre–yellow tone with a subtle brownish undertone. This hue aligns closely with the “eel-yellow” (shànyú huáng, 鳝鱼黄) and “bean-yellow” (dòu huáng, 豆黄) categories documented in Qing ceramic literature. The analysis integrates historical, technological, and art-historical perspectives, confirming the glaze’s placement within the established typology of imperial monochrome glazes. Keywords: Kangxi, monochrome glaze, imperial yellow, lead glaze, eel-yellow, bean-yellow, anhua, Jingdezhen, Chinese porcelain 1. Introduction Monochrome yellow glazes have occupied a significant place in Chinese imperial porcelain production since the Ming dynasty, with their exclusive use regulated by court decrees. During the Kangxi reign (1662–1722), workshops at Jingdezhen continued the tradition of lead-based low-temperature yellow glazes, often combined with incised decoration beneath the glaze (anhua). The present study focuses on a vase exhibiting such a glaze and decoration, aiming to contextualize its hue and technology within the wider framework of Kangxi imperial ceramics. 2. Historical and Scientific Descriptions in the Literature Chemistry and Technology of the Color Imperial yellow is a high-lead, low-temperature glaze, where the coloration is produced by Fe³⁺ (iron ions/oxide). This has been confirmed through non-invasive Raman and pXRF studies of Qing monochrome glazes of the 18th century (including yellow examples). In the British Museum’s descriptions, yellow glaze on porcelain is explicitly described as a low-temperature glaze pigmented with iron oxide; the same sources note the historical palace monopoly on yellow glazes. For Ming–Qing imperial yellow wares, it has been shown that colored lead glaze was often applied over a colorless high-temperature layer, which produced a “warm jade-like sheen” (EDXRF, optical microscopy, spectrophotometry). Historical-Terminological Hue Ranges (Qing) In written sources and catalogues, several shades of “yellow” are distinguished: imperial/sacrificial yellow (regulated by court rules), as well as varieties such as “eel-yellow” (鳝鱼黄, shànyú huáng) and “bean-yellow” (豆黄, dòu huáng) — ochre–mustard tones of monochrome glazes and enamels of the Qing period. Examples of objects labeled eel-yellow glaze are published in specialized catalogues and museum surveys. Encyclopedic ceramic references note the use of lead yellow glaze on incised decorations (dragons, etc.), matching the present vase’s incised (anhua) phoenix under the glaze. “Anhua” Incised Decoration The anhua (hidden, subtle carved decoration) technique is described as almost invisible under normal viewing and becoming apparent only in certain light angles; it is characteristic of Qing monochrome yellows. Specific Kangxi examples include incised yellow-glazed bowls with dragons and phoenixes — published in both museum collections and auction records — with vivid lead yellow glaze over fine carving. Material and Body (Jingdezhen Context) For imperial yellow wares of Jingdezhen, research discusses porcelain body composition (kaolin/petuntse) and the evolution of recipes between the 17th and 18th centuries. These works provide the technological-historical framework for understanding Kangxi vessels. When correlated with the instrumentally measured hue of the present vase (average RGB ≈ 173, 156, 131), the tone is close to the ochre–mustard range, which in Qing catalogues is often associated with the douhuang/eel-yellow subtypes, while retaining the fundamental color origin — Fe³⁺ in a lead glaze, low-temperature firing. 3. Instrumental Color Measurement Instrumental analysis of the glaze color was conducted using digital imaging and RGB averaging over multiple photographic samples. The resulting mean values were: RGB: (173, 156, 131) Hex: #AD9C83 HSV: H = 35°, S = 24%, V = 68% CIELAB: L* ≈ 66, a* ≈ 5, b* ≈ 19 This profile corresponds to a warm ochre–yellow with a subtle brown undertone, consistent with Qing eel-yellow and bean-yellow classifications. 4. Discussion The glaze’s chromatic coordinates align with documented Kangxi imperial yellows of the shànyú huáng and dòu huáng types. The low saturation and ochre tonality distinguish it from the more vivid imperial yellow used in ritual wares, suggesting a specific aesthetic choice or symbolic nuance. The incised phoenix decoration reinforces the vessel’s high-status designation, as phoenix motifs in Qing porcelain carried imperial and auspicious connotations. From a technological perspective, the presence of a warm, soft surface reflection indicates a lead-based glaze applied over a high-fired underlayer, a practice attested in previous compositional studies of Qing monochromes. The measured hue also matches the spectral reflectance curves reported in museum analyses of similar Kangxi examples. 5. Conclusion The studied Kangxi-period vase exhibits a monochrome yellow lead glaze of warm ochre tonality, instrumentally measured at RGB(173, 156, 131), and decorated with an incised phoenix motif beneath the glaze. The color matches the eel-yellow and bean-yellow categories recognized in Qing ceramic scholarship. The combination of glaze composition, decorative technique, and imperial iconography confirms its classification within the typology of high-quality Kangxi monochrome porcelains.