Alongside the richly ornamented wares, however, Qianlong's reign also produced works of striking restraint. These quieter pieces reduce surface detail and soften the palette, achieving elegance through subtlety rather than spectacle. A lantern-shaped vase in the collection of the National Museum of China in Beijing exemplifies this alternative aesthetic.

The vase, standing 16.5 centimeters tall, is coated with a unique glaze called taohuadong (peach blossom cave). Uneven flecks of red, yellow, green and blue scatter across a white ground, resembling fireworks suspended on porcelain. Artisans achieved this effect by blowing pigment through a pipe onto the vessel's surface, creating loose dots and blurred edges. The result evokes the spontaneous washes of classical Chinese ink painting and, to modern eyes, even hints at Impressionism.

This vase is on display at Convergence of Elegance, an exhibition running through May 5 at Nanshan Museum in Shenzhen, Guangdong province. It is among more than 100 ceramic works that have traveled from the National Museum of China to the southern coastal city. Together, they trace the evolution and technical diversity of Chinese porcelain.