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The Investigation Into the Development of Glass As an Expressive Medium in China Through Direct Contact with Western Methods of Making, Decoration and Forming

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The Investigation Into the Development of Glass As an Expressive Medium in China Through Direct Contact with Western Methods of Making, Decoration and Forming The investigation into the development of glass as an expressive medium in China through direct contact with Western methods of making, decoration and forming. By XUE LU (Shelly) MA. BA (Hons) A thesis submitted in partial fulfilment of the requirement of the University of Wolverhampton for the Degree of Doctor of Philosophy 2009 This work or any part thereof has not previously been presented in any form to the University or to any other body whether for the purpose of assessment, publications or for any other purpose (unless previously indicated). Save for any express acknowledgements, references and/or bibliographies cited in the work, I confirm that the intellectual content of the work is the result of my own effects and of no other person. The right of XUE LU to be identified as author of this work is asserted in accordance with ss.77 and 78 of the copyright, Design and Patents Act 1988. At this date copyright is owned by the author. Signature: …………………. Date: ………………………. Abstract 2 Abstract This thesis is an investigation into the development of glass as an expressive medium in China through direct contact with Western methods of making, decoration and forming glass. The investigation proceeds through an analysis of the parallels between glass objects produced from Kangxi (1662-1722) to Qianlong period (1736-96), and contemporary practitioners’ (2000-2009), which is complemented by my own practice. The investigation mainly looks at three aspects and their inter-relationship within these strands. They are: 1) the history of glassmaking from 1696 to 1795 in the Qing dynasty with Western influences; 2) the analysis of Contemporary Chinese studio/academic glass within the imported UK model; 3) the development of my personal glass practice within this matrix. Practical work is of two components: reproductions of historical examples and personal creative pieces. The inter-relationship/comparison between these three strands seeks to identify themes, such as the influence of the imported models, reactions to them (the nature of hybrid), and the development of Chinese identity within glassmaking. The purpose is to draw similarities and differences from the comparisons in terms of philosophy, attitude, cultural reference and technique, between Qing and contemporary China, to provide general principles in practice and guidance for future development. Basic information has been gathered from a wide range of sources both in China and in the UK using libraries, museums and galleries / literature from books, journals, archives and websites. Some information has been derived from direct contact (emails, interviews, conversations and questionnaires) with practitioners and scholars. The nature of the research has involved the examination of real historical objects and their technical repetitions, visits to Chinese Universities and personal exhibitions. These Abstract 3 investigations included the identification of almost all of the extant examples of the Qing dynasty and their examination in terms of the identified aims of the research, especially in terms of physical evidence within the objects themselves. A body of personal work has also been developed and presented as a case study and used as an investigative tool for analysing the contemporary movement and the making of suggestions. The techniques addressed in this research were developed as examples to illustrate the diverse possibilities of practice. The whole study has been complemented by practice, the outcome of the research naturally consisted of a written thesis and a body of personal work. The written part contains the interpretation of contemporary Chinese studio glass and the analysis of its actual influences from Western practice. Furthermore the comparison of historical experiences is given through the viewpoint of a glass practitioner. A series of similarities and differences and the experiences from other practical models (Western Studio Glass Movement) have been illustrated from the comparison, as well as a set of recommendations and a vision for future development in China. The use of visuals, including image comparisons, technical and process illustrations, drawings, videos and actual samples, are designed to give new insights on the research of Chinese glass and provides an added dimension for presenting and encouraging discourse within the research of Art & Design. Additionally, a comprehensive appendix at the end of the thesis records almost all of the existing Qing glass objects while concentrating on the highest quality of the same category both in and out of China. Further information on relative exhibitions, publications and contact lists are useful for those who are willing to pursue a further study. Content 4 Contents Acknowledgements…………………………………………………………………....7 Chapter 1: Introduction…………………………………………………………8 Chapter 2: Qing Dynasty Chinese Glass…………………………………...22 2.1 History 2.1.1 A Short review: ancient Chinese glass practice before Qing dynasty…………………..23 2.1.2 A general history: Glass in the Qing Dynasty (1644-1910)…………………………….28 2.1.3 Chinese philosophy of craft making………………………………………………........38 2.2 Material Techniques of making glass in the Imperial Glass Workshop……………………………40 2.3 Process 2.3.1 Designer / Maker partnership mode…………………………………………………….47 2.3.2 Blowing technique towards carving manner…………………………………………....68 2.3.3 The evolution of the foot-ring…………………………………………………………..73 2.4 Expression - a craft material: the nature of hybrid 2.4.1 “Gu” shape glass vase………………………………………………………………......84 2.4.2 Façon-de-Venice influence……………………………………………………………..91 2.4.3 Glass engraving: Chinese form with Western decoration……………………………..106 2.5 Summary……………………………………………………………………………....112 Content 5 Chapter 3: Contemporary China……………………………………………….115 3.1 History: The Last decade, its problems, opportunities & future 3.1.1 Leading the fashion -- Loretta Yang and Liuli Gongfang glass factory……………….116 3.1.2 The rise of University level glass education………………………………..................120 3.1.3 Training and education…………………………………………………………...……133 3.2 Material 3.2.1 Truth to material……………………………………………………………………….136 3.2.2 Type of glass (material)………………………………………….…………………….142 3.3 Process 3.3.1 Craftsman, Designer and Artist, and its associated working modes………………......150 3.3.2 Kiln-forming as a main technique…………………………………………………......162 3.4 Expression – an art medium: Contemporary Examples 3.4.1 Objects & Sculpture oriented -- Making glass as an artist…………………………….175 3.4.2 Case study 1: Guan Donghai………………………………………………………. …182 3.4.3 Case study 2: Zhuang Xiaowei……………………………………………………..…194 3.5 Summary………………………………………………………………………………199 Chapter Four: Personal work……………………………………………………202 4.1 Case Study 1: Influence of traditional Chinese ink painting – a main philosophy…………………...205 4.2 Case Study 2: Vessel form…………………………………………………………....213 Chapter Five: Conclusion……………………………………….………………....220 5.1 Areas of focus……...………………………………………………………………….221 5.2 Outcomes………..…………………………………………………………………….222 5.3 Original contributions………………………………………………………………....225 5.4 Recommendations…………………………………………………………………..…227 5.5 Limitations and Future research……………………………………………………….229 References……………………………………………………………………………….231 Content 6 Appendices……………………………………………………………………….……..240 Appendix 1 - Qing dynasty Chinese ruby red glass…………………………………...241 Appendix 2 - Qing dynasty Chinese enamelled glass…………………………………244 Appendix 3 - Disparate categories …………………………….……………………...246 Appendix 4 - Qing dynasty Chinese aventurine glass ………….…………………….248 Appendix 5 - Chromatogram of the Qing dynasty Chinese glass……………………..250 Appendix 6 - Qing dynasty Chinese imperial yellow glass…………………………...253 Appendix 7 - Qing dynasty Chinese cased and cameo glass………………………….259 Appendix 8 - Qing dynasty Chinese facet-cut glass…………………………………..275 Appendix 9 - Qing dynasty Chinese glass with back-up foot-ring……………………280 Appendix 10 - Qing dynasty Chinese glass with ribbed decoration…………………..282 Appendix 11 - Qing dynasty Chinese glass with Façon-de-Venice influence...............284 Appendix 12 - Qing dynasty Chinese engraving glass………………………………..286 Appendix 13 - List of Chinese university glass studio ……………………………….290 Appendix 14 - List of Chinese glass museum & gallery ……………………………..292 Appendix 15 - Other centrifuged works of Xue Lu - ………………………………....293 Appendix 16 - Other works of Guan Donghai………………………………………...296 Appendix 17 - Questionnaire: Investigation of contemporary Chinese glass and personal work………………………………………………...…...297 Appendix 18 - List of publications, exhibitions and conference presentations of XUE Lu (2006-2009)…………………...321 Acknowledgements 7 Acknowledgements I am extremely grateful to my supervisors Professor Keith Cummings, Stuart Garfoot and Professor Pang Yaochang (Fine Art College, Shanghai University), for their valuable guidance, immense encouragement and enthusiastic contribution to this research project. I have also received helpful advices from Professor Andrew Brewerton, Professor Edward Bird, Pat Dillon, Dr. Kristina Niedderer, Chris Bird-Jones, Susanne K. Frantz, Professor Tim Collins, Professor Ray Flavell, David Jones, Professor Kevin Petrie, David Durling, Professor Wang Dawei, Associate Professor Guan Donghai, and Associate Professor Zhuang Xiaowei. With special and grateful thanks to Roger Dodsoworth (Broadfield Glass House Museum), Anna Wu (Victoria & Albert Museum) for their kindly support to access to the Qing dynasty Chinese glass, and to Emma Angus, Jane Cooksey, Simon Eccoles, Jo Newman,
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