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Ming Dynasty Porcelain Plate Laura G
Wonders of Nature and Artifice Art and Art History Fall 2017 Blue-and-White Wonder: Ming Dynasty Porcelain Plate Laura G. Waters '19, Gettysburg College Follow this and additional works at: https://cupola.gettysburg.edu/wonders_exhibit Part of the Ancient, Medieval, Renaissance and Baroque Art and Architecture Commons, Fine Arts Commons, History of Science, Technology, and Medicine Commons, Industrial and Product Design Commons, and the Intellectual History Commons Share feedback about the accessibility of this item. Waters, Laura G., "Blue-and-White Wonder: Ming Dynasty Porcelain Plate" (2017). Wonders of Nature and Artifice. 12. https://cupola.gettysburg.edu/wonders_exhibit/12 This is the author's version of the work. This publication appears in Gettysburg College's institutional repository by permission of the copyright owner for personal use, not for redistribution. Cupola permanent link: https://cupola.gettysburg.edu/wonders_exhibit/12 This open access student research paper is brought to you by The uC pola: Scholarship at Gettysburg College. It has been accepted for inclusion by an authorized administrator of The uC pola. For more information, please contact [email protected]. Blue-and-White Wonder: Ming Dynasty Porcelain Plate Abstract This authentic Ming Dynasty (1368-1644) plate is a prime example of early export porcelain, a luminous substance that enthralled European collectors. The eg nerous gift of oJ yce P. Bishop in honor of her daughter, Kimberly Bishop Connors, Ming Dynasty Blue-and-White Plate is on loan from the Reeves Collection at Washington and Lee University in Lexington, Virginia. The lp ate itself is approximately 7.75 inches (20 cm) in diameter, and appears much deeper from the bottom than it does from the top. -
Chinese Ceramics in the Late Tang Dynasty
44 Chinese Ceramics in the Late Tang Dynasty Regina Krahl The first half of the Tang dynasty (618–907) was a most prosperous period for the Chinese empire. The capital Chang’an (modern Xi’an) in Shaanxi province was a magnet for international traders, who brought goods from all over Asia; the court and the country’s aristocracy were enjoying a life of luxury. The streets of Chang’an were crowded with foreigners from distant places—Central Asian, Near Eastern, and African—and with camel caravans laden with exotic produce. Courtiers played polo on thoroughbred horses, went on hunts with falconers and elegant hounds, and congregated over wine while being entertained by foreign orchestras and dancers, both male and female. Court ladies in robes of silk brocade, with jewelry and fancy shoes, spent their time playing board games on dainty tables and talking to pet parrots, their faces made up and their hair dressed into elaborate coiffures. This is the picture of Tang court life portrayed in colorful tomb pottery, created at great expense for lavish burials. By the seventh century the manufacture of sophisticated pottery replicas of men, beasts, and utensils had become a huge industry and the most important use of ceramic material in China (apart from tilework). Such earthenware pottery, relatively easy and cheap to produce since the necessary raw materials were widely available and firing temperatures relatively low (around 1,000 degrees C), was unfit for everyday use; its cold- painted pigments were unstable and its lead-bearing glazes poisonous. Yet it was perfect for creating a dazzling display at funeral ceremonies (fig. -
Page 1 578 a Japanese Porcelain Polychrome Kendi, Kutani, 17Th C
Ordre Designation Estimation Estimation basse haute 551 A Chinese mythological bronze group, 19/20th C. H: 28 cm 250 350 552 A Chinese bronze elongated bottle-shaped vase, Ming Dynasty H.: 31 600 1200 cm 553 A partial gilt seated bronze buddha, Yongzheng mark, 19th C. or earlier 800 1200 H: 39 cm L: 40 cm Condition: good. The gold paint somewhat worn. 554 A Chinese bronze jardiniere on wooden stand, 19/20th C. H.: 32 cm 300 600 555 A Chinese figural bronze incense burner, 17/18th C. H.: 29 cm 1000 1500 556 A Chinese bronze and cloisonne figure of an immortal, 18/19th C. H.: 31 300 600 cm 557 A Chinese bronze figure of an emperor on a throne, 18/19th C. H.: 30 cm 800 1200 Condition: missing a foot on the right bottom side. 558 A bronze figure of Samanthabadra, inlaid with semi-precious stones, 4000 8000 Ming Dynasty H: 28 cm 559 A Chinese gilt bronze seated buddha and a bronze Tara, 18/19th C. H.: 600 1200 14 cm (the tallest) 560 A Chinese bronze tripod incense burner with trigrams, 18/19th C. H.: 350 700 22,3 cm 561 A tall pair of Chinese bronze “Luduan� figures, 18/19th C. H.: 29 1200 1800 cm 562 A tall gilt bronze head of a Boddhisatva with semi-precious stones, Tibet, 1000 1500 17/18th C. H.: 33 cm 563 A dark bronze animal subject group, China, Ming Dynasty, 15-16th C. H.: 1500 2500 25,5 cm 564 A Chinese dragon censer in champlevé enameled bronze, 18/19th C. -
Chinese Funerary Ceramics
Harn Museum of Art Educator Resources Chinese Funerary Ceramics Large Painted Jar (hu) China Han Dynasty (206 BCE-220 CE) Earthenware with pigment 15 3/16 x 11 1/8 in. Harn Museum Collection, 1996.23, Museum purchase, gift of Dr. and Mrs. David A. Cofrin Ceramics have been an integral part of Chinese culture throughout its history. How they were fashioned, decorated and used reflected functional needs, cultural practices and spiritual beliefs. High quality ceramic vessels were created as early as the Neolithic period. By the time of the Han dynasty (206 B.C.E. - 220 C.E.), ceramics took many forms, from various types of vessels to figurative work. Surface decoration could take the form of relief, incision, painting, or glazing. Vessels were wheel- thrown, indicating high technical achievement. Many ceramic forms, it seems evident, were modeled on costlier metal prototypes. While ceramics undoubtedly served utilitarian functions, they were also used as funerary objects. During the Han dynasty, the Chinese often buried their dead with objects they would need in the afterlife. This ceramic jar was made for that purpose. Its painted design is intended to resemble lacquer, an extremely valuable material that was considered a sign of high status. Because it was prohibitively expensive for most families to bury the dead with actual lacquer vessels, ceramic replicas were used instead as a way of conserving financial resources for the living. The form and decoration of this jar are perfectly balanced. The painted decoration is intricate and expertly applied. The major theme, seen in the central band, is that of a dragon and a phoenix. -
Chinese Art the Szekeres Collection
Chinese Art The Szekeres Collection J. J. Lally & Co. oriental art Chinese Art The Szekeres Collection Chinese Art The Szekeres Collection March 13 to 29, 2019 J. J. Lally & Co. oriental art 41 East 57th Street New York, NY 10022 Tel (212) 371-3380 Fax (212) 593-4699 e-mail [email protected] www.jjlally.com Janos Szekeres ANOS Szekeres was a scientist, an When his success in business gave him greater resources for collecting art, he first inventor, an aviator, a businessman and a formed a collection of Post-Impressionist paintings, which he had always loved, but Jfamily man. The outline of his life reads as business affairs brought him back to Asia he once again began to visit the antiques like a classic American success story. Born in shops looking for Chinese art, and soon he had a significant collection of Chinese snuff Hungary in 1914, Janos attended the University bottles. His interest and sophistication grew rapidly and eventually he served on the of Vienna for his graduate studies in chemistry. Board of Directors of the International Chinese Snuff Bottle Society and on the Chinese When war in Europe was imminent he signed Art Collections Committee of the Harvard University Art Museums. A trip to China in on as a seaman on a commercial freighter and, 1982 visiting Chinese art museums, kiln sites and monuments reinforced a wider interest on arrival in New York harbor, “jumped ship.” in Chinese ceramics and works of art. He enlisted in the US Army Air Force in 1941 Janos took great pleasure in collecting. -
The Riches of China
Longwood Center for the Visual Arts Presents: Have Art, Will Travel: The Riches of China Longwood Center for the Visual Arts© 2015 1 Acknowledgments _________________________________ The Longwood Center for the Visual Art would like to thank everyone who helped to develop the Have Art, Will Travel: The Riches of China program. Contributors include K. Johnson Bowles, Director of the Longwood Center for the Visual Arts; Beth Cheuk, Public Relations and Event Coordinator for the LCVA; Emily Gresham, Curator of Education for the LCVA; Kate Halladay; Sally Hamlin; Denise Penick; Robin Sedgwick, Registrar for the LCVA; Erin West, 2007-2008 Bishop-Wells intern; and the LCVA Advisory Board’s Program Committee. The development and printing of this manual was made possible by contributions from Target, Kyanite Mining Corporation, and the Virginia Commission for the Arts. Longwood Center for the Visual Arts 129 North Main Street Farmville, VA 23901 434.395.2206 www.longwood.edu/lcva Longwood Center for the Visual Arts© 2015 2 Program Description And Terms of Use _________________________________ Bring the wonders of China alive in your classroom with hands-on art activities! The LCVA’s Have Art, Will Travel program is free to use and is all-inclusive. The LCVA Curator of Education or docent visits classrooms to introduce art objects from the Center’s permanent collections. The LCVA’s representative also brings a Resource Trunk designed to enhance the study of Chinese culture, targeting Virginia’s Standards of Learning. The Resource Trunk provides a wealth of information about the important cultural, historical, and technological contributions the Chinese people have made in world history and the country’s continuing impact on the world. -
THE PAVILION SALE - Chinese Ceramics and Works of Art O N 4 October 2016
PRESS RELEASE | HONG KONG | 22 S e p t e m b e r 2016 THE PAVILION SALE - Chinese Ceramics and Works of Art O n 4 October 2016 Hong Kong - On 4 October, 2016, Christie’s Hong Kong will host The Pavilion Sale, a continuation of this successful series, first introduced in October 2014. The specially curated sale of 198 lots include highlights offered from several private collections such as The Dexinshuwu Collection and the collection of a German family, which features remarkable pieces of Tang sancai wares, Song ceramics, bronze censers, furniture and other works of art. Additionally the sale offers jade carvings from the Han to Ming dynasty, porcelain from the Ming and Qing dynasties, as well as other works. Ruben Lien, Vice President, Senior Specialist, commented, “With estimates ranging from HKD 15,000 to HKD 600,000, the sale offers an affordable and assessable platform for collectors looking to explore Chinese works of art. These beautiful and diverse pieces offer both new and established collectors an opportunity to enrich their collections and to enhance a cultured lifestyle”. Highlights of Tang sancai Wares and Song Ceramics from the Dexinshuwu Collection A LARGE SANCAI - GLAZED JAR A SANCAI -GLAZED HAND A SANCAI-GLAZED TANG DYNASTY (618-907) WARMER APPLIQUE-DECORATED 19 cm. high TANG DYNASTY (618-907) TRIPOD JAR HK$150,000-260,000 13 cm. high TANG DYNASTY (618-907) US$20,000-34,000 HK$150,000-200,000 13.3 cm. high US$20,000-26,000 HK$100,000-150,000 A SANCAI-GLAZED US$13,000-19,000 BOTTLE VASE TANG DYNASTY (618-907) 23 cm. -
Nigel Wood and Chris Doherty
Nigel Wood and Chris Doherty A Technological Examination of Some Chinese Ceramics Nigel Wood and Chris Doherty A Technological Examination of Some Chinese Ceramics our sherds from the Belitung wreck were the ninth-century wreck, although not all these 1 Mason and Tite 1994; Mason Fexamined for this study. Much of the ship’s Changsha wares may have been destined for the and Tite 1997. cargo came from China, probably from the great Middle East.2,3 2 Fleming et al. 1992; Ho trading city of Yangzhou in Jiangsu province, Chuimei and Bronson 1987. where ceramics were collected for export from 3 Allan 1991, 6–9; cf. also in this volume p. 356, 469. both north and south China, via the Grand Ca- Analytical techniques nal and the Yangzi River. The cargo appears to have been destined for the Middle East, either All four sherds were examined using a Cameca through direct sailing or through transhipment. SU30 scanning electron microscope (SEM) fit- The wreck dates from a time when imported ted with both Energy Dispersive and Wavelength Chinese wares transformed the course of Mid- Dispersive X-ray analysers (EDA and WDA). dle Eastern ceramic history. White porcelains Slips and bodies were examined using quantita- from north China in particular were imitated tive EDA, using a de-focussed beam, whilst WDA by Mesopotamian potters using pale calcareous was employed for point-analysis of the glazes. earthenware bodies, and glazes opacified by tin Typical operating conditions were 13Kv and oxide. Green- and white-glazed Chinese stone- 10na, with 200 seconds count time for EDA, 10 wares from both north and south China were seconds for WDA. -
Immortality of the Spirit: Chinese Funerary Art from the Han and Tang Dynasties Exhibition Catalogue
Fairfield University DigitalCommons@Fairfield Immortality of the Spirit: Chinese Funerary Art Immortality of the Spirit - Ephemera from the Han and Tang Dynasties 4-2012 Immortality of the Spirit: Chinese Funerary Art from the Han and Tang Dynasties Exhibition Catalogue Jill J. Deupi Fairfield University, [email protected] Ive Covaci Fairfield University Leopold Swergold Follow this and additional works at: https://digitalcommons.fairfield.edu/immortality_ephemera Recommended Citation Deupi, Jill J.; Covaci, Ive; and Swergold, Leopold, "Immortality of the Spirit: Chinese Funerary Art from the Han and Tang Dynasties Exhibition Catalogue" (2012). Immortality of the Spirit - Ephemera. 1. https://digitalcommons.fairfield.edu/immortality_ephemera/1 This item has been accepted for inclusion in DigitalCommons@Fairfield by an authorized administrator of DigitalCommons@Fairfield. It is brought to you by DigitalCommons@Fairfield with permission from the rights- holder(s) and is protected by copyright and/or related rights. You are free to use this item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses, you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. For more information, please contact [email protected]. Immortality of the Spirit: Chinese Funerary Art from the Han and Tang Dynasties 1 ust over a year ago, Jane and Leopold Swergold surprised -
Catalogue 201 To
Lots 201 - 210 Lot #201: PAIR OF CHINESE FAMILLE NOIR PORCELAIN BALUSTER-FORM VASES 24 1/2 in., 11 in. diam. Provenance: Property from the Late David Enright IV of Albany, New York. Estimate: $ 250.00 - $ 500.00 Lot #202: CHINESE SANCAI-GLAZED POTTERY FIGURAL BOTTLE 18 1/4 in. Estimate: $ 200.00 - $ 400.00 Lot #203: CHINESE CARVED HARDSTONE CENSER ON STAND Censer 5 3/4 x 6 in. Estimate: $ 600.00 - $ 800.00 Lot #204: CHINESE BLUE AND WHITE BOWL 2 in., 10 in. diam. Provenance: Ex Collection of Robertson and Mary Paige Alford, Norfolk, CT. Estimate: $ 400.00 - $ 800.00 Lot #205: TWO CHINESE AGATE SNUFF BOTTLES Taller 3 1/4 in. Estimate: $ 200.00 - $ 400.00 Lot #206: THREE CHINESE HARDSTONE SNUFF BOTTLES Estimate: $ 300.00 - $ 500.00 Lot #207: CHINESE CINNABAR LACQUER SNUFF BOTTLE, AN AGATE SNUFF BOTTLE AND A CELADON AND BROWN JADE SNUFF BOTTLE Tallest 3 in. Estimate: $ 300.00 - $ 400.00 Lot #208: CHINESE LIGHT CELADON JADE PENDANT AND A RUSSET AND LIGHT CELADON JADE PENDANT Taller 3 x 1 5/8 in. Provenance: Ex Collection of Robertson and Mary Paige Alford, Norfolk, CT. Estimate: $ 200.00 - $ 400.00 Lot #209: TWO CHINESE AGATE SNUFF BOTTLES Taller 2 5/8 in. Estimate: $ 100.00 - $ 200.00 Lot #210: TWO CHINESE SPINACH JADE SNUFF BOTTLES Taller 2 5/8 in. Estimate: $ 200.00 - $ 300.00 Back Back to Index Next Lots 211 - 220 Lot #211: ASSORTED CHINESE BLUE AND WHITE PORCELAIN JARDINIÈRES Largest 9 1/4 in., 12 in. diam. Estimate: $ 100.00 - $ 200.00 Lot #212: CHINESE HARDWOOD LOW TABLE WITH THREE DRAWERS 41 1/4 x 18 1/4 x 13 in. -
The City of Blue and White : Chinese Porcelain and the Early Modern World Pdf, Epub, Ebook
THE CITY OF BLUE AND WHITE : CHINESE PORCELAIN AND THE EARLY MODERN WORLD PDF, EPUB, EBOOK Anne Gerritsen | 354 pages | 07 May 2020 | CAMBRIDGE UNIVERSITY PRESS | 9781108499958 | English | Cambridge, United Kingdom The City of Blue and White : Chinese Porcelain and the Early Modern World PDF Book Handmade and hand decorated Swedish Mid-Century Modern tubular ceramics vase depicting the head of a black and white gazelle in wild growing flowers in blue, rose, green and yellow c Japanese porcelain and French gilded bronze mount. See image 5. Michael Andersen. Jean Linard Original and elegant abstract ceramic flower pot. In the form of a green apple. Jumbo Contemporary Ceramic Marshmallow Planter. The characters are positioned either in a straight line, a square, or in two lines either horizontal or vertical. W 20 in. The majority of the existing Great Wall is from the Ming era. Can be used as a planter or log bin. Mainly produced for export from the Chinese port of Canton. No ratings or reviews yet No ratings or reviews yet. About this product. Previous methods of printing were enhanced and paper, ink and woodblock carving techniques reached an unprecedented standard. Public transportation ends at the north end of Sanbao road, the only major path leading to the village. Market-goers arrive at the market as early as 4 am. The relationship between Chinese and Western ceramics expanded in the late 19th and early 20th centuries, when widespread concerns regarding urbanization, industrialization, and the impact of mass production spurred interest in early Chinese ceramics, particularly the earthy brown- and black-glazed wares of the Song dynasty Search Creators. -
Fine Chinese Works Of
AUCTION JUNE, 16TH 2018 Fine Chinese Works of Art 慵天ᷕ⚳喅埻⑩ and Buddhist Sculpturesġ ⍲ἃ㔁晽⁷ AUCTION Fine Chinese Works of Art FRONT COVER: Lot 120 – Detail A LARGE AND VERY RARE KANGXI 慵天ᷕ⚳喅埻⑩ PERIOD FAMILLE VERTE BALUSTER VASE ‘LIU HAI AND FEMALE IMMORTALS’ and Buddhist Sculptures BACK COVER: Lot 77 ⍲ἃ㔁晽⁷ A LARGE YUAN / MING DYNASTY PAINTING OF FEMALE DEITIES WITH th pm GESSO HIGHLIGHTS Saturday, June 16 2018 at 2 CET CATALOG CA0618 VIEWING www.zacke.at IN OUR GALLERY June 11th - June 16th Monday - Friday 10am - 6pm Saturday - June 16th 10am - 1pm and by appointment GALERIE ZACKE MARIAHILFERSTRASSE 112 Lot 98 A LARGE AND IMPORTANT MING 1070 VIENNA AUSTRIA DYNASTY POLYCHROME-LACQUERED WOOD FIGURE OF GUANYIN Tel +43 1 532 04 52 Fax +20 E-mail offi[email protected] 1 IMPORTANT INFORMATION ABSENTEE BIDDING FORM (According to the general terms and conditions of business Gallery Zacke Vienna) FOR THE AUCTION FINE CHINESE WORKS OF ART AND BUDDHIST SCULPTURES CATALOG CA0618 ON DATE Saturday, June 16th 2018 at 2pm CET NO. TITLE BID IN EURO Endangered Species / CITES Information Some items in this catalogue may consist of material such as for example ivory, rhinoceros horn, tortoise shell, coral or any rare types of tropical wood, and are therefore subject to the Convention on International Trade in Endangered Species of Wild Fauna and Flora [CITES]. Such items may only be exported outside the European Union after an export permit in accordance with CITES has been granted by the Austrian authorities. Zacke Gallery cannot and does not guarantee that such export permit may or will be obtained, but will by order of the winning bidder, once and exclusively after the item in question has been paid in full, apply to obtain such a permit at a fixed administrative fee of euro 500, - per application.