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Chinese Export Porcelain and Global Spaces of Imagination Julia Reynolds

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Chinese Export Porcelain and Global Spaces of Imagination Julia Reynolds Q&A How did you become involved in doing research? I became involved in research in my first year at the University of Kansas. I worked with Dr. Susan Earle, curator of European and American art at the Spencer Museum to place a sculpture in its time period and original location. It was a wonderful chance for me to explore hands-on, object-based learning. Now, I’m able to take graduate seminars in my field of art history, and research topics as varied as Chinese export porcelain and French painting. How is the research process different from what you expected? The research process is different than I expected in that it is so malleable and Julia Reynolds ever-changing. The project proposal and the final draft of my paper are two very different things. HOMETowN Knoxville, Tennessee What is your favorite part of doing research? The hands-on nature of research and the chance to look at one object in such MAJOR depth are by far my favorite parts of research. I could never have that kind of History of Art, Philosophy experience in a classroom! ACADEMIC LEVEL Junior RESEARCH MENTOR Marsha Haufler, Professor of History of Art Amy McNair, Professor of History of Art Chinese export porcelain and global spaces of imagination Julia Reynolds ABSTRACT This paper will examine a Chinese porcelain plate from the Victoria and Albert Museum, London. The plate was produced in Jingdezhen, China ca. 1785-90 and acquired in Iran in 1888. It is painted in pink enamel with a landscape scene in the center and a double border around the edges. The landscape depicts pagoda houses interspersed with rocks, flowers, and trees. It is heavily stylized so as to seem “exotic” and “oriental” to the European eye. The double border consists of a diaper border outlined with a spearhead border. While the plate was manufactured at the site of the imperial kilns, it was intended for export to Europe as part of Chinese porcelain trade. This is made evident in the English transfer-print decoration with its clear, crisp lines and decal- like look. Its purchase in Iran reflects British influence in Persia, which was a colonial subdivision of the British Empire from 1783 to 1971. This paper will consider the Chinese porcelain plate from the perspective of material culture and globalization as well as a limited amount of post-colonialism. Lines of questioning will include: the original setting in English dining customs and culture, its situation within the World Ceramics galleries of the Museum, and the role of British imperialism and its influence on those who used and consumed the Chinese porcelain plate. This will allow for a more detailed and nuanced understanding of the artificial construction of China in the British Empire. 56 | journal OF UNDERGRADUATE RESEARCH This paper will examine a Chinese with a tiered roof and curved steps. porcelain plate (fig. 1)1 in the It is located on a watercourse, which collection of the Victoria and Albert allows for a sense of perspective. Museum from the perspective of It is also notable that there are no material culture and globalization. Chinese figures within the scene as The plate is of European shape were present in the blue and white produced in China ca. 1785-90 and “Willow Pattern.” This allows for a acquired in Iran in 1888. While European audience to insert itself the Victoria and Albert Museum within the scene as a space for global purchased it in Iran, the British imagination and creation.4 occupied the southern portion This paper will begin with a of Iran from 1763 to 1971, which detailed description of material indicates that a citizen of the British culture and globalization. It will look Empire owned it. The plate is painted at the importance of engaging with with pink enamel in the manner of material culture and the impact of English transfer-print decoration. globalization in the British Empire Figure 2. Collection of the Victoria and The pink enamel is known as Albert Museum. ca. 1785-1790. Modes of production “famille rose.” It originated in Europe will then be discussed at both in the Rococo era ca. 1750, and was in Bristol ca. 1770-1781, which is Chinese and European porcelain used at the porcelain manufactories also in the collection of the Victoria manufactories. The Chinese of Bristol and Staffordshire in and Albert Museum (fig. 2).2 Famille porcelain plate will be looked at England. This is seen in a cream rose was introduced to China during in its original setting in English pitcher made of hard-paste porcelain the reign of Kangxi (1654-1722). dining custom and culture as well painted with pink enamel produced Ordinarily, it was applied to the as its situation within the World surface of glazed pottery, which had Ceramics galleries of the Victoria been fired, and was then re-fired at a and Albert Museum, which offers lower temperature.3 a chronological and world-wide The Chinese porcelain plate has introduction to the Far East and a double border of diaper pattern South East Asia, the Middle East, edged with gilt. Within the double and European ceramics prior to border is a flower motif composed 1800. The conclusion will determine of oriental lilies with large blossoms. that British imperialism influenced The central design is a variation of those who used and consumed the traditional Chinese landscape the Chinese porcelain plate. This theme. The landscape is heavily method of organization will allow stylized so as to appear “exotic” and for a more thoughtful and organized “oriental” to the European eye. It is presentation of information, as well composed of Chinese architecture as a more complete understanding interspersed with rocks, flowers, of Chinese porcelain, often called and willow trees and branches. “China,” as it was used to construct The Chinese architecture includes an artificial image of China within an open pavilion and a number of the British Empire.5 Figure 1. Collection of the Victoria and Albert Museum. ornamental imitations of pagodas, 1 “Dish,” Victoria and Albert Museum, accessed May 15, 2015 http://collections.vam.ac.uk/item/O33681/dish-unknown/ 2 “Cream Jug,” Victoria and Albert Museum, accessed May 15, 2015 http://collections.vam.ac.uk/item/O248369/cream-jug-bristol-porcelain- factory/ 3 “Dish,” Victoria and Albert Museum, accessed May 15, 2015 http://collections.vam.ac.uk/item/O33681/dish-unknown/ 4 Gerritsen and Riello. “Spaces for Global Interactions,” 112 5 For this and the following paragraph, please see Anne Gerritsen and Giorgio Riello, “Spaces of Global Interactions: The Material Landscapes of Global History,” in Writing Material Culture History, ed. by Anne Gerritsen and Giorgio Riello (London: Bloomsbury Academic, 2015), 112 6 Gerritsen and Riello, “Introduction,” 4 Summer 2014 – Spring 2015 | 57 MATERIAL CULTURE decorative arts include ceramic Another consideration is that not all Material culture history helps us to art, glassware, furniture, interiors, objects are in museum collections. understand objects as they relate metalwork, textile arts, and Many are held by antique dealers, to the everyday lives of ordinary woodwork. Most often, these art auction houses, private collectors, people who lived in the past.6 forms were made for use in the home and other sources. This makes However, “common people” did not and were ascribed special meaning material culture a logistically necessarily leave behind the written by those who owned and used them. complex area of study that requires records of kings, queens, prime While the worth of material the art historian to consult archives ministers, and generals. Their lives culture studies in strengthening and textual sources such as are more easily traced through the our understanding of the written exhibition catalogues, museum material goods that they bought, and visual past has been made indexes, and online databases and sold, and used, which was a practice evident, there are several areas resources. While material culture common to both the rich and poor. of limitation as well.9 Material studies has the ability to enrich The “consumer revolution” of the limitation offers the perspective that the study of art history, it must be eighteenth century, when more the vast majority of objects do not approached with due consideration. goods were available to larger social survive. Although it is important Although there are limitations to groups than ever before, was the for art historians to consider material culture studies, this paper catalyst for much historical research existing objects in relation to those will attempt to address them. While in the 1980s and 1990s. This was that are absent, this is not always material limitation is a consideration, followed by studies of consumptions possible. Within the decorative arts, there are more than 1,000 pieces of patterns in Renaissance Italy, early metalwork was often melted down Chinese porcelain in the Victoria and modern continental Europe, and the for the sake of the precious metals Albert Museum produced between nineteenth and twentieth century. and jewels. Another complication 1750-1800 alone. While the pink More recently, consumption has is that objects have often lost the enamel painted porcelain is not as been studied in the cultures of context that made them meaningful. well-known as the blue and white the Ottaman Empire, the Persian This de-contextualization must ware is now, it was a popular option Empire, Ming and Qing China, and be acknowledged in art historical at the time. De-contextualization Colonial Latin America as part of an research. There are also conceptual requires the use of non-academic engagement with global history. limitations wherein objects survive sources such as cookbooks and This is a relatively recent field over a period of time.
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