DOCSLIB.ORG

Catalogue Oriental Ceramics December 2019

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Catalogue Oriental Ceramics December 2019 oriental ceramics Exhibition December 13th 2019- January 26th 2020 renaud m o n t m é a t a r t d’ a s i e 36, rue étienne marcel 7 5 0 0 2 p a r i s CHINA 1*A burnished black "egg-shell" pottery stem cup. Neolithic period, Longshan culture, (2500-2000 BC) Height : 17,5 cm Provenance : Musée Barbier-Mueller, Geneva, (BMG 221-24) Reference : A similar stem cup in the Minneapolis Art Institute (93.60.1). https://collections.artsmia.org/art/4571/ceremonial-stem-cup-longshan 2*A Yue chicken head and dragon handle celadon glazed stoneware Eastern Jin (317-420), Zhejiang Height : 26 cm Provenance : Gulbenkian museum, Durham UK (L51) 3*A Carved Qinbai « Boys » celadon glazed stoneware bowl Southern Song dynasty (1127-1279) Diameter : 19 cm 4*A Carved Qinbai celadon glazed stoneware bowl Southern Song dynasty (1127-1279) Diameter :17,2 cm 5*A brown glazed stoneware Kundika 12-13th c. (TL test) Height : 25,5 cm 6*A Moulded Celadon glazed Bowl Circa 12th century, Southern China Diameter: 17,5 cm Height: 12,4 cm Provenance : Mrs J.S. collection 1960-1970 7*A Blue glazed stoneware Jar Yuan dynasty (1279-1368) Diameter: 13,5 cm Height: 12 cm Provenance : Mrs J.S. collection 1960-1970 8*Blue glaze and copper-red splash Jun bowl, Yuan dynasty (1279-1368), Diameter : 16 cm 9*A celadon glazed stoneware five-spout jar Song dynasty Height : 15,2 cm Provenance : Collection Helliot fils *10 & *11 Two celadon galzed stoneware jars, Qing dynasty, Height : 10 cm and Height : 6,5 cm 12*A celadon glazed stoneware incense-burner Qing dynasty Height : 6,2 cm Diameter : 9 cm 13*A celadon glazed stoneware cup Qing dynatsy Diameter : 17,5 cm JAPAN 14*A grey glazed stoneware bowl 19th century or earlier Diameter : 13,2 cm Provenance : Collection Thierrart, Paris 15*A Brown glazed stoneware chawan 18th century, Diameter : 12,5 cm, Height : 6 cm Provenance : Collection Portier, Paris : 1923-2016 Collection Charles Haviland n°439, 21st November 1923, Hôtel des Ventes Drouot, Paris Korea 16*A celadon glazed stoneware bowl with inlaid slip decoration Koryo, 13th c. Diameter : 19,4 cm 17*A celadon glazed stoneware oil bottle with slip inlaid, Koryo dynasty, 12th c. Height : 5,7 cm, Diameter : 5,6 cm Reference : A very similar one in Victoria and Albert museum, London, (C.588-1918). http://collections.vam.ac.uk/item/O21720/oil-bottle-unknown/ 18*A celadon glazed stonewere bowl, Koryo dynasty, D :16,7 cm 19*A celadon glazed stoneware Maebyong vase, with inlaid slip decoration Circa 15th c. Height : 30,5 Reference : « Roman d’un voyageur », Victor Collin de Plancy, Sèvres cité de la céramique, cat. n° 139. 20*A Pale blue glazed stoneware vase 19th c. Height : 16,5 cm, Diameter :17 cm Vietnam 21*A celadon glazed stoneware bowl Height 12 cm, Diameter : 15 cm Tran dynasty 13-14th c Reference : Dragons and Lotus Blossoms, Birmingham museum of art. p.242, Cat.178. 22*A celadon glazed stoneware bowl Height: 15 cm, Diameter : 19 cm Tran dynasty 13-14th c. Reference : The Elephant and the Lotus, Vietnamese ceramics in the Museum of fine arts, Boston, Philippe Truong, Cat.42, P.75. 23*A celadon glazed stoneware bowl Height: 7cm, Diameter : 17 cm Tran dynasty 14-15 th c. Reference : The Elephant and the Lotus, Vietnamese ceramics in the Museum of fine arts, Boston, Philippe Truong, Cat.81, P.115. 24*A celadon glazed stoneware bowl, H: 7 cm, D: 16,7 cm, Tran dyn.14-15th c. 25*A celadon glazed stoneware bowl, H: 8 cm, D: 19,5 cm, Tran dyn. 13-14 th c. The Elephant and the Lotus, Vietnamese ceramics in the Museum of fine arts, Boston, Philippe Truong, Cat.50, P.81 & P.83. 26*Stem cup, traw glazed stoneware, Height : 11,5 cm, Diameter : 13 cm, Lê dynasty 15-16 th c. Provenance : according to the sticker : A.A. Pouyanne, n°T58 Reference : The Elephant and the Lotus, Vietnamese ceramics in the Museum of fine arts, Boston, Philippe Truong, Cat.109. .
Load more

Recommended publications
  • Annual Report 2018–2019 Artmuseum.Princeton.Edu
    Image Credits Kristina Giasi 3, 13–15, 20, 23–26, 28, 31–38, 40, 45, 48–50, 77–81, 83–86, 88, 90–95, 97, 99 Emile Askey Cover, 1, 2, 5–8, 39, 41, 42, 44, 60, 62, 63, 65–67, 72 Lauren Larsen 11, 16, 22 Alan Huo 17 Ans Narwaz 18, 19, 89 Intersection 21 Greg Heins 29 Jeffrey Evans4, 10, 43, 47, 51 (detail), 53–57, 59, 61, 69, 73, 75 Ralph Koch 52 Christopher Gardner 58 James Prinz Photography 76 Cara Bramson 82, 87 Laura Pedrick 96, 98 Bruce M. White 74 Martin Senn 71 2 Keith Haring, American, 1958–1990. Dog, 1983. Enamel paint on incised wood. The Schorr Family Collection / © The Keith Haring Foundation 4 Frank Stella, American, born 1936. Had Gadya: Front Cover, 1984. Hand-coloring and hand-cut collage with lithograph, linocut, and screenprint. Collection of Preston H. Haskell, Class of 1960 / © 2017 Frank Stella / Artists Rights Society (ARS), New York 12 Paul Wyse, Canadian, born United States, born 1970, after a photograph by Timothy Greenfield-Sanders, American, born 1952. Toni Morrison (aka Chloe Anthony Wofford), 2017. Oil on canvas. Princeton University / © Paul Wyse 43 Sally Mann, American, born 1951. Under Blueberry Hill, 1991. Gelatin silver print. Museum purchase, Philip F. Maritz, Class of 1983, Photography Acquisitions Fund 2016-46 / © Sally Mann, Courtesy of Gagosian Gallery © Helen Frankenthaler Foundation 9, 46, 68, 70 © Taiye Idahor 47 © Titus Kaphar 58 © The Estate of Diane Arbus LLC 59 © Jeff Whetstone 61 © Vesna Pavlovic´ 62 © David Hockney 64 © The Henry Moore Foundation / Artists Rights Society (ARS), New York 65 © Mary Lee Bendolph / Artist Rights Society (ARS), New York 67 © Susan Point 69 © 1973 Charles White Archive 71 © Zilia Sánchez 73 The paper is Opus 100 lb.
    [Show full text]
  • Vocabulary: Koryo Open Work Design Celadon Glaze Korean Celadon: Cheong-Ja Buddhism Leatherhard Clay Sanggam: Inlaid Design Symbols
    Lesson Title: Koryo (12-13th Century) Celadon Pottery and Korean Aesthetics Class and Grade level(s): High School and/or Junior High Art Goals and Objectives: The student will be able to: *identify Korean Koryo Celadon pottery as an original Korean Art form. *understand that the Korean aesthetic is rooted in nature. *utilize design elements of Koryo pottery in their own ceramic projects. Vocabulary: Koryo Open work design Celadon Glaze Korean Celadon: Cheong-ja Buddhism Leatherhard clay Sanggam: Inlaid Design Symbols 12th century Unidentified, Korean, Koryo period Stoneware bowl with celadon glaze. This undecorated ceramic bowl with incurving rim replicates the form of metal alms bowls carried by Buddhist monks for receiving food offerings from devotees. The ceramic version was probably used for the same purpose and would have been a gift to a monastery from a noble patron. Primary source bibliography: Freer collection celadon images: http://www.asia.si.edu/collections/korean_highlights.asp News: Koryo Pottery Was Headed for Kaesong http://english.chosun.com/site/data/html_dir/2007/10/12/2007101261013.html History http://search.freefind.com/find.html?id=70726870&pageid=r&mode=all&n=0& query=korea+history Korean History and Art Sites http://search.freefind.com/find.html?oq=korea+art&id=70726870&pageid=r&_c harset_=UTF- 8&bcd=%C3%B7&scs=1&query=korea+art&Find=Search&mode=ALL&searc h=all Other resources used: A Single Shard by Linda Sue Park; Scholastic Inc., copyright 2001 http://www.lindasuepark.com/books/singleshard/singleshard.html Required materials/supplies: Clay studio tools, White clay, Celadon glaze, White and black slip Procedure: Introduction: Korean Koryo Celadon (Cheong-ja) Ceramics Korean pottery dates back to the Neolithic age.
    [Show full text]
  • (B. 1948) Kamada Kōji Is Known for His Mastery of the Difficult Tenmoku
    KAMADA KŌJI (b. 1948) Kamada Kōji is known for his mastery of the difficult tenmoku (rabbit’s hair) glaze, a technique that originated in 10th century Song Dynasty China and entered Japan during the Muromachi period two centuries later. Kamada has revitalized the technique by applying the traditional glaze to his modernized, but still functional, teaware that challenge the concepts of balance and presence. His works serve as an updated canvas for these established glaze techniques, allowing form and glaze to beautifully complement one another. 1948 Born in Kyoto 1968 Trained in Gojōzaka with Shimizu Tadashi 1971 Graduated from Kyoto Ceramics Training School, became an instructor Began his study of tenmoku glazes 1973 Entered the 2nd Japan Craft Association, Kinki District 1976 Became an official member of the Japan Craft Society 1977 Resigned as instructor for the Kyoto prefectural government and began concentrating exclusively on creating ceramics 1982 With the closing of the public Gojōzaka kiln, he acquired his own gas kiln 1988 Studied under National Living Treasure, Shimizu Uichi 1990 Became an official member of Japan Sencha (Tea) Craft Association 2000 Juror for Nihon dentō kogeiten (Japan Traditional Crafts Exhibition) Awards: 1987 Kyoto Board of Education Chairperson's Award, the 16th Japan Craft Association Exhibition Kinki District Selected Solo Exhibitions: 1978 Osaka Central Gallery (also '79 and '80) 1980 Takashimaya Art Gallery, Kyoto (eight more shows through ‘03, then ‘13) 1984 Takashimaya Art Gallery, Nihonbashi, Tokyo
    [Show full text]
  • Downloaded from Brill.Com10/04/2021 07:11:53AM Via Free Access Downloaded from Brill.Com10/04/2021 07:11:53AM Via Free Access 41
    39 Ching-Ling Wang* R E JA P RE-CONSIDERING A CIZHOU-TYPE JAR IN THE VVAK COLLECTION U-TY Introduction O Within the collection of the VVAK, on long term loan to the Rijksmuseum Amsterdam, is a Cizhou-type (Cizhouyao xi) stoneware jar (AK-MAK-536, fig. 1). This jar has a short tapered neck, a wide mouth, and four small loops between the neck and the shoulder which would originally have been used to IZH secure a lid; from the square shoulder the sides narrow towards the foot. C The inner neck and the body are covered with a crackled glaze and slip to around three centimeters above the base. On the surface of the glaze are cloudy patches of slip that turned pink or brownish-beige during firing. A The slip has been worn away around the base. One side is decorated with G a painting of a galloping horse, shown running through grassland – as suggested by spare brush strokes. The horse is painted in shades of iron IN brown beneath the glaze. It has a dark brown body, a yellowish-brown mane, R and a tail painted with fluid brushstrokes. On the other side, in the same E palette, is an as yet unidentified plant (fig. 2). The base of the jar is plain biscuit (fig. 3). D I first encountered this jar in September 2013 during an interview for my job as curator of Chinese art in the Rijksmuseum. I remember that this jar was NSI placed in front of me and I was asked several questions about it.
    [Show full text]
  • Kraak Porcelain
    Large Dishes from Jingdezhen and Longquan around the World Dr Eva Ströber Keramiekmuseum Princessehof, NL © Eva Ströber 2010 Cultures of Ceramics in Global History, 1300-1800 University of Warwick, 22-24 April 2010 Global History Arts & Humanities & Culture Centre Research Council http://www2.warwick.ac.uk/fac/arts/history/ghcc/research/globalporcelain/conference Large Dishes from Jingdezhen and Longquan around the World The talk will be about the huge success of a type of Chinese porcelain the Chinese themselves had indeed no use for: large serving dishes, large meaning more than 35 cm in diam. The most common blue and white type was made in Jingdezhen, the Celadon type in the Longquan kilns in Southern Zhejiang and Northern Fujian. Another type of large dishes, the Zhangzhou type, was produced in the kilns of Zhangzhou, Fujian. The focus will be on three markets these oversized dishes were made for: the Muslim markets of the Middle East, particularly Persia, Turkey and the Mughal empire, SE Asia including what is now Indonesia, and Japan. By miniatures, drawings, paintings or old photographs it will be illustrated, how these large Chinese dishes were used in a non Chinese social and cultural context. The Chinese Bowl The Chinese themselves, as can be seen on the famous painting of a literati gathering from the Song – dynasty of the 12th century, dined from rather small sized tableware. The custom to eat from small dishes and particularly from bowls started in the Song dynasty and spread to many countries in SE Asia. It has not changed even to this very day.
    [Show full text]
  • Stoneware Tea Bowl. Chun Glaze. Chun Interior. Height 7.6Cm, Diameter 11Cm
    PS1 - Stoneware tea bowl. Chun glaze. Chun interior. Height 7.6cm, diameter 11cm. SOLD PS1 PS2 - Stoneware tea bowl. Titanium glaze over tenmoku. Tenmoku interior. Height 8.7cm, diameter 9.7cm. £45.00 PS2 PS3 - Stoneware tea bowl. Tenmoku glaze with ilmenite decoration. Chun interior. Height 9.2cm, diameter 9.6cm. SOLD PS3 PS4 - Stoneware tea bowl. Copper red glaze. Chun interior. Height 8.6cm, diameter 10cm. SOLD PS4 PS5 - Stoneware tea bowl. Tenmoku glaze. Chun interior. Height 9.7cm, diameter 8.6cm. SOLD PS5 PS6 - Porcelain tea bowl. Jade green glaze. Copper red interior. Height 6.6cm, diameter 11cm. SOLD PS6 PS7 - Stoneware tea bowl. Copper red glaze with ilmenite decoration. Chun interior. Height 9.6cm, diameter 8.5cm. £45.00 PS7 PS8 - Porcelain tea bowl. Layered chun and tenmoku glaze. Tenmoku interior. Height 8.4cm, diameter 9.3cm. SOLD PS8 PS9 - Stoneware tea bowl. Titanium glaze over tenmoku. Tenmoku interior. Height 7cm, diameter 11.7cm. £45.00 PS9 PS10 - Stoneware tea bowl. Celadon and copper red glaze. Celadon interior. Height 9.3cm, diameter 8.5cm. £45.00 PS10 PS11 - Stoneware tea bowl. Incised titanium glaze over tenmoku glaze. Tenmoku interior. Height 8.8cm, diameter 11.2cm. SOLD PS11 PS12 - Porcelain tea bowl. Copper red glaze with ilmenite decoration. Chun interior. Height 7.5cm, diameter 9.5cm. £45.00 PS12 PS13 - Stoneware tea bowl. Unglazed Yixing clay body. Chun interior. Height 7.7cm, diameter 9.7cm. SOLD PS13 PS14 - Stoneware tea bowl. Layered chun and tenmoku glaze. Tenmoku interior. Height 9.4cm, diameter 9.2cm. SOLD PS14 PS15 - Stoneware tea bowl.
    [Show full text]
  • Comparative Study of Black and Gray Body Celadon Shards Excavated from Wayaoyang Kiln in Longquan, China
    Microchemical Journal 126 (2016) 274–279 Contents lists available at ScienceDirect Microchemical Journal journal homepage: www.elsevier.com/locate/microc Comparative study of black and gray body celadon shards excavated from Wayaoyang kiln in Longquan, China Hongying Duan a,b,⁎, Dongge Ji a,b, Yinzhong Ding a,b, Guangyao Wang c, Jianming Zheng d, Guanggui Zhou e, Jianmin Miao a,b a Key Scientific Research Base of Ancient Ceramics (the Palace Museum), State Administration of Cultural Heritage, Beijing 100009, China b Conservation Department, the Palace Museum, Beijing 100009, China c Department of Objects and Decorative Arts, the Palace Museum, Beijing 100009, China d Zhejiang Provincial Cultural Relics Archaeological Research Institute, Hangzhou, Zhejiang 310014, China e The Museum of Longquan City, Longquan, Zhejiang 323700, China article info abstract Article history: Longquan celadon is one of the most valuable treasures in Chinese ceramic history. Representative products are Received 8 August 2015 Ge ware (Ge meaning elder brother, black body celadon) and Di ware (Di meaning younger brother, gray body Received in revised form 12 December 2015 celadon) of the Song Dynasty (960–1279 A.D.). In this study, Ge and Di ware shards excavated from Wayaoyang Accepted 12 December 2015 kiln site in Longquan were collected and studied. Chemical and crystallite composition, microstructure, body and Available online 19 December 2015 glaze thickness, firing temperature and glaze reflectance spectrum were observed and examined. Differences in Keywords: raw materials and manufacturing technology between Ge and Di ware were studied. Based on the results and Longquan Ge ware historical background, it was speculated that some Ge wares from Wayaoyang kiln site might be the test products Longquan Di ware of jade-like black body celadon for the imperial court.
    [Show full text]
  • Antique Pair Japanese Meiiji Imari Porcelain Vases C1880
    anticSwiss 29/09/2021 17:25:52 http://www.anticswiss.com Antique Pair Japanese Meiiji Imari Porcelain Vases C1880 FOR SALE ANTIQUE DEALER Period: 19° secolo - 1800 Regent Antiques London Style: Altri stili +44 2088099605 447836294074 Height:61cm Width:26cm Depth:26cm Price:2250€ DETAILED DESCRIPTION: A monumental pair of Japanese Meiji period Imari porcelain vases, dating from the late 19th Century. Each vase features a bulbous shape with the traditional scalloped rim, over the body decorated with reserve panels depicting court garden scenes and smaller shaped panels with views of Mount Fuji on chrysanthemums and peonies background adorned with phoenixes. Each signed to the base with a three-character mark and on the top of each large panel with a two-character mark. Instill a certain elegance to a special place in your home with these fabulous vases. Condition: In excellent condition, with no chips, cracks or damage, please see photos for confirmation. Dimensions in cm: Height 61 x Width 26 x Depth 26 Dimensions in inches: Height 24.0 x Width 10.2 x Depth 10.2 Imari ware Imari ware is a Western term for a brightly-coloured style of Arita ware Japanese export porcelain made in the area of Arita, in the former Hizen Province, northwestern Ky?sh?. They were exported to Europe in large quantities, especially between the second half of the 17th century and the first half of the 18th century. 1 / 4 anticSwiss 29/09/2021 17:25:52 http://www.anticswiss.com Typically Imari ware is decorated in underglaze blue, with red, gold, black for outlines, and sometimes other colours, added in overglaze.
    [Show full text]
  • Fluted and Faceted Porcelain
    Rochester Institute of Technology RIT Scholar Works Theses 5-1-1982 Fluted and faceted porcelain Barbara Greever Follow this and additional works at: https://scholarworks.rit.edu/theses Recommended Citation Greever, Barbara, "Fluted and faceted porcelain" (1982). Thesis. Rochester Institute of Technology. Accessed from This Thesis is brought to you for free and open access by RIT Scholar Works. It has been accepted for inclusion in Theses by an authorized administrator of RIT Scholar Works. For more information, please contact [email protected]. ROCHESTER INSTITUTE OF TECHNOLOGY A Thesis Submitted to the Faculty of The College of Fine and Applied Arts in Candidacy for the Degree of MASTER OF FINE ARTS FLUTED AND FACETED PORCELAIN By Barbara C. Greever May, 1982 APPROVALS Advisor: Robert D. Aelmity Da te: / d ·//· 87- Associate Advisor: Graham Mark Dat e: $.ygZ Gradu ate Academic Cou ncil Rep resentat ;ve; Fred Meyer--''-- --,~ Dat e: / f) 1/..,h ""2­ 7 Dea n. Co l lege of r ' Fi ne & App l ied Ar ts: Dr. Robert H. Johnston Dat e : D dJ4--- L8. 11ll:L- j I. Bar bara C. Greever , prefer to be contacted each t ime a request for re producti on i s made . I can be reached at the fol 1ow- i ng addre ss . Date :May , 1982 i i CONTENTS I. HISTORICAL BACKGROUND 1 II. AESTHETIC CONCERNS 7 III. TECHNIQUES 10 IV. ASSESSMENT OF THESIS POTS 16 APPENDIX: CLAY AND GLAZE RECIPES 38 BIBLIOGRAPHY 43 in ILLUSTRATIONS 1. Surform Blades 12 2. Pressure Cracks 13 3. Covered Jar Glazed in English Celadon 17 4.
    [Show full text]
  • The Introduction of Celadon Production in North China: Technological Characteristics and Diversity of the Earliest Wares
    The Introduction of Celadon Production in North China: Technological Characteristics and Diversity of the Earliest Wares Shan Huang*1, Ian C. Freestone1, Yanshi Zhu2, Lihua Shen2 * Corresponding Author: [email protected] 1 Institute of Archaeology, University College London, 31-34 Gordon Square, WC1H 0PY, London, UK 2 Institute of Archaeology, Chinese Academy of Social Sciences, 27 Wangfujing Avenue, 100710, Beijing, China Abstract Celadon, technically a stoneware with a lime-rich glaze, had been produced in South China for more than two millennia before it was first made in the North in the second half of the sixth century. It appears to have been an immediate precursor to white porcelain, which was first produced by northern kilns. The compositions and microstructures of early northern celadons from kilns, residential sites and tombs in Shandong, Hebei and Henan provinces, and dated 550s-618 CE, have been determined by SEM-EDS. The majority of the vessels were made using a low-iron kaolinitic clay, with high alumina (20-29%), as anticipated for northern clays. A small number of celadon vessels from a kiln at Caocun, which produced mainly lead-glazed wares, have lower alumina contents and appear to have originated in the South. It seems possible that these imported vessels were being used by the potters as models on which Caocun wares were based. Consistent differences in major element composition are observed between the products of kilns at Anyang, Xing, Luoyang and Zhaili. Unlike southern celadon glazes, which were prepared as two-component mixtures of vegetal ash and body clay, the northern celadon glazes are three-component, and typically contained an additional siliceous component, probably loess.
    [Show full text]
  • An Aesthetic Study of Ancient Chinese Celadon Ware Culture
    2018 4th International Conference on Social Sciences, Modern Management and Economics (SSMME 2018) An Aesthetic Study of Ancient Chinese Celadon Ware Culture Yuan Yihong School of Design, South China University of Technology, Guangdong, Guangzhou, 510006 Keywords: ancient Chinese celadon ware culture; aesthetic study; aesthetic thought Abstract: China is a nation of chinaware and has a long history of ceramic art. Ancient Chinese celadon ware culture has a high aesthetic research value. Based on this, this paper studies the aesthetic value of ancient Chinese celadon ware culture, briefly introduces this culture, and then makes a further analysis of the aesthetic characteristics of its modeling culture and finally discusses the aesthetic thought reflected from ancient Chinese celadon wares with a view to making contributions to the inheritance and development of Chinese celadon ware culture. 1. Introduction Celadon is one of the famous traditional porcelain in China. Firstly apply green glaze on the base, that is, the turquoise glaze with iron as colorant, and fire it in reducing flame, then you’ll get celadon ware. The celadon ware has a long history and various types, such as Yue Kiln in Tang Dynasty, the Imperial Kiln, Ru Kiln, Longquan Kiln, Yaozhou Kiln in Song Dynasty, etc. They all belong to the celadon system. Celadon not only has fine and delicate porcelain, bright and smooth lines, but also has distinctive modeling: dignified and simple, pure, beautiful and gorgeous. In the past dynasties, the aristocrats and the common people as well, were all attracted to them. In promoting the development of their culture, they also endow the celadon ware with rich aesthetic ideas.
    [Show full text]
  • Smithsonian Collections from Commodore Matthew Perry's Japan Expedition (1853-1854)
    Artifacts of Diplomacy: Smithsonian Collections from Commodore Matthew Perry's Japan Expedition (1853-1854) CHANG-SU HOUCHINS SMITHSONIAN CONTRIBUTIONS TO ANTHROPOLOGY • NUMBER 37 SERIES PUBLICATIONS OF THE SMITHSONIAN INSTITUTION Emphasis upon publication as a means of "diffusing knowledge" was expressed by the first Secretary of the Smithsonian. In his formal plan for the institution, Joseph Henry outlined a program that included the following statement: "It is proposed to publish a series of reports, giving an account of the new discoveries in science, and of the changes made from year to year in all branches of knowledge." This theme of basic research has been adhered to through trie years by thousands of titles issued in series publications under the Smithsonian imprint, commencing with Smithsonian Contributions to Knowledge in 1848 and continuing with the following active series: Smithsonian Contributions to Anthropology Smithsonian Contributions to Botany Smithsonian Contributions to the Earth Sciences Smithsonian Contributions to the Marine Sciences Smithsonian Contributions to Paleobiology Smithsonian Contributions to Zoology Smithsonian Folklife Studies Smithsonian Studies in Air and Space Smithsonian Studies in History and Technology In these series, the Institution publishes small papers and full-scale monographs that report the research and collections of its various museums and bureaux or of professional colleagues in the world of science and scholarship. The publications are distributed by mailing lists to libraries, universities, and similar institutions throughout the world. Papers or monographs submitted for series publication are received by the Smithsonian Institution Press, subject to its own review for format and style, only through departments of the various Smithsonian museums or bureaux, where the manuscripts are given substantive review.
    [Show full text]