A crab-shaped turquoise glazed waterpot. China, Kangxi

Turquoise, “heavenly”, or “celestial” (“Celeste” evoking the “Celestial Empire of China”) blue biscuits were produced in countless shapes in the beginning of the 18^th century, often in very few numbers of pieces.

The diverse shapes provide an insight into Chinese culture. While the production of ceramics in China, consisted mainly of religious figures during the Kangxi period (1662-1722), turquoise biscuits (1662-1722) were intended for the scholar’s studio. They reflect the scholar’s discerning taste, intellectual pursuits with rebuses and homophones cleverly incorporated into the objects, and his connection to the world beyond.

This charming object was originally intended for the desk of a scholar. It would have been used as a water container for wetting calligraphy brushes. The Chinese word for “crab” (蟹) and the Chinese word for “harmony” (协) are both pronounced “xie”. The crab is also used to symbolize success in the imperial examination.

Sometimes mounted on gilded bronze in the 18^th century, turquoise biscuits were especially appreciated in France from the 18^th to the 20^th century, with famous collectors as the Rothschild family.

The celestial blue colour had a great impact on French decorative arts. The most prominent example is very likely the magnificent ‘bleu céleste’ Vincennes – Sèvres service made for Louis XV, King of France’s personal use at the château de Versailles.