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Tracing the Origin of Blue and White Chinese Porcelain Ordered for the Portuguese Market During the Ming Dynasty Using INAA
Journal of Archaeological Science 40 (2013) 3046e3057 Contents lists available at SciVerse ScienceDirect Journal of Archaeological Science journal homepage: http://www.elsevier.com/locate/jas Tracing the origin of blue and white Chinese Porcelain ordered for the Portuguese market during the Ming dynasty using INAA M. Isabel Dias a,*, M. Isabel Prudêncio a, M.A. Pinto De Matos b, A. Luisa Rodrigues a a Campus Tecnológico e Nuclear/Instituto Superior Técnico, Universidade Técnica de Lisboa, EN 10 (Km 139,7), 2686-953 Sacavém, Portugal b Museu Nacional do Azulejo, Rua da Madre de Deus no 4, 1900-312 Lisboa, Portugal article info abstract Article history: The existing documentary history of Chinese porcelain ordered for the Portuguese market (mainly Ming Received 21 March 2012 dynasty.) is reasonably advanced; nevertheless detailed laboratory analyses able to reveal new aspects Received in revised form like the number and/or diversity of producing centers involved in the trade with Portugal are lacking. 26 February 2013 In this work, the chemical characterization of porcelain fragments collected during recent archaeo- Accepted 3 March 2013 logical excavations from Portugal (Lisbon and Coimbra) was done for provenance issues: identification/ differentiation of Chinese porcelain kilns used. Chemical analysis was performed by instrumental Keywords: neutron activation analysis (INAA) using the Portuguese Research Reactor. Core samples were taken from Ancient Chinese porcelain for Portuguese market the ceramic body avoiding contamination form the surface layers constituents. The results obtained so INAA far point to: (1) the existence of three main chemical-based clusters; and (2) a general attribution of the Chemical composition porcelains studied to southern China kilns; (3) a few samples are specifically attributed to Jingdezhen Ming dynasty and Zhangzhou kiln sites. -
'A Mind to Copy': Inspired by Meissen
‘A Mind to Copy’: Inspired by Meissen Anton Gabszewicz Independent Ceramic Historian, London Figure 1. Sir Charles Hanbury Williams by John Giles Eccardt. 1746 (National Portrait Gallery, London.) 20 he association between Nicholas Sprimont, part owner of the Chelsea Porcelain Manufactory, Sir Everard Fawkener, private sec- retary to William Augustus, Duke of Cumberland, the second son of King George II, and Sir Charles Hanbury Williams, diplomat and Tsometime British Envoy to the Saxon Court at Dresden was one that had far-reaching effects on the development and history of the ceramic industry in England. The well-known and oft cited letter of 9th June 1751 from Han- bury Williams (fig. 1) to his friend Henry Fox at Holland House, Kensington, where his china was stored, sets the scene. Fawkener had asked Hanbury Williams ‘…to send over models for different Pieces from hence, in order to furnish the Undertakers with good designs... But I thought it better and cheaper for the manufacturers to give them leave to take away any of my china from Holland House, and to copy what they like.’ Thus allowing Fawkener ‘… and anybody He brings with him, to see my China & to take away such pieces as they have a mind to Copy.’ The result of this exchange of correspondence and Hanbury Williams’ generous offer led to an almost instant influx of Meissen designs at Chelsea, a tremendous impetus to the nascent porcelain industry that was to influ- ence the course of events across the industry in England. Just in taking a ca- sual look through the products of most English porcelain factories during Figure 2. -
Views of a Porcelain 15
THE INFLUENCE OF GLASS TECHNOLOGY vessels nor to ceramic figurines, but to beads made in imitation of imported glass.10 The original models were ON CHINESE CERAMICS eye-beads of a style produced at numerous sites around the Mediterranean, in Central Asia and also in southern Russia, and current in the Near East since about 1500 Nigel Wood BC.11 A few polychrome glass beads found their way to Research Laboratory for Archaeology and the History of Art, University of Oxford. China in the later Bronze Age, including one example excavated from a Spring and Autumn period (770-476 BC) site in Henan province.12 This particular blue and ONE OF THE MOST IMPORTANT AND ENDURING DIFFER- white eye bead was of a style current in the eastern ences between the ceramics of China and the Near East Mediterranean in the 6th to 3rd century BC and proved lies in the role that glass has played in the establishment to have been coloured by such sophisticated, but of their respective ceramic traditions. In the ceramics of typically Near Eastern, chromophores as calcium- Mesopotamia, Persia, Egypt, and Syria glass technology antimonate-white, cobalt-blue and a copper-turquoise, proved vital for the development of glazed ceramics. while its glass was of the soda-lime type, common in 13 Figure 2. Earthenware jar with weathered glazes. Warring States Following the appearance of glazed stone-based the ancient world. period. Probably 3rd century BC (height: 9.5 cm). The British ceramics in the fourth millennium BC, the first glazes These ‘western’ beads would have been wonders in Museum. -
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. -
1 the Willow Pattern
The East India Company at Home, 1757-1857 – UCL History The Willow Pattern: Dunham Massey By Francesca D’Antonio Please note that this case study was first published on blogs.ucl.ac.uk/eicah in June 2014. For citation advice, visit: http://blogs.uc.ac.uk/eicah/usingthewebsite. Unlike other ‘objects studies’ featured in the East India Company At Home 1757-1857 project, this case study will focus on a specific ceramic ware pattern rather than a particular item associated with the East India Company (EIC). With particular attention to the contents of Dunham Massey, Greater Manchester, I focus here on the Willow Pattern, a type of blue and white ‘Chinese style’ design, which was created in 1790 at the Caughley Factory in Shropshire. The large-scale production of ceramic wares featuring the same design became possible only in the late eighteenth century after John Sadler and Guy Green patented their method of transfer printing for commercial use in 1756. Willow Pattern wares became increasingly popular in the early nineteenth century, allowing large groups of people access to this design. Despite imitating Chinese wares so that they recalled Chinese hard-stone porcelain body and cobalt blue decorations, these wares remained distinct from them, often attracting lower values and esteem. Although unfashionable now, they should not be merely dismissed as poor imitations by contemporary scholars, but rather need to be recognized for their complexities. To explore and reveal the contradictions and intricacies held within Willow Pattern wares, this case study asks two simple questions. First, what did Willow Pattern wares mean in nineteenth-century Britain? Second, did EIC families—who, as a group, enjoyed privileged access to Chinese porcelain—engage with these imitative wares and if so, how, why and what might their interactions reveal about the household objects? As other scholars have shown, EIC officials’ cultural understandings of China often developed from engagements with the materials they imported, as well as discussions of and visits to China. -
China: Qing Dynasty Porcelain and Global Exchange Pre-Visit
China: Qing Dynasty Porcelain and Global Exchange Pre-Visit Share this background information with students before your Distance Learning session. Grade Level: Grades 9-12 Collection: East Asian Art Culture/Region: China, East Asia Subject Area: History and Social Science Activity Type: Distance Learning WHY LOOK AT PLATES AND VASES? When visiting a relative or a fancy restaurant, perhaps you have dined on “fine china.” While today we appreciate porcelain dinnerware for the refinement it can add to an occasion, this conception is founded on centuries of exchange between Asian and Western markets. Chinese porcelain production has a long history of experimentation, innovation, and inspiration resulting in remarkably beautiful examples of form and imagery. At the VMFA, you will examine objects from a small portion of this history — the 18th century during the Qing Dynasty — to expand your understanding of global exchange in this era. Because they were made for trade outside of China, these objects are categorized as export porcelain by collectors and art historians. Review the background information below, and think of a few answers you want to look for when you visit VMFA. QING DYNASTY Emperors, Arts, and Trade Around the end of the 16th century, a Jurchin leader named Nurhaci (1559–1626) brought together various nomadic groups who became known as the Manchus. His forces quickly conquered the area of present-day Manchuria, and his heirs set their sights on China. In 1636 the Manchus chose the new name of Qing, meaning “pure,” to emphasize their intention to purify China by seizing power from the Ming dynasty. -
European Cobalt Sources Identified in the Production of Chinese Famille Rose Porcelain Abstract Keywords
European cobalt sources identified in the production of Chinese famille rose porcelain Rita Giannini1, Ian C. Freestone2, Andrew J. Shortland1 1 Cranfield Forensic Institute Cranfield University Defence Academy of the United Kingdom Shrivenham Wilts SN6 8LA [email protected] 2 Institute of Archaeology UCL 31-34 Gordon Square London WC1H 0PY Abstract The blue pigments on 112 fragments or small objects of Qing Dynasty Chinese, 95 of underglaze blue and white and 17 overglaze enamelled porcelains were analysed by LA-ICPMS. The underglaze blues on both blue and white and polychrome objects were created with a cobalt pigment that was rich in manganese with lesser nickel and zinc. This suite of accessory elements is generally considered to be characteristic of local, Chinese, sources of pigments. However, the blue enamels were very different. The cobalt pigment here has low levels of manganese and instead is rich in nickel, zinc, arsenic and bismuth. No Chinese source of cobalt with these characteristics is known, but they closely match the elements found in the contemporary cobalt source at Erzgebirge in Germany. Textual evidence has been interpreted to suggest that some enamel pigment technologies were transferred from Europe to China, but this is the first analytical evidence to be found that an enamel pigment itself was imported. It is possible that this pigment was imported in the form of cobalt coloured glass, or smalt, which might account for its use in enamels, but not in an underglaze, where the colour might be susceptible to running. Furthermore, the European cobalt would have given a purer shade of blue than the manganese-rich Chinese cobalt. -
Cincinnati Art Asian Society Virtual November 2020: Asian Ceramics
Cincinnati Art Asian Society Virtual November 2020: Asian Ceramics Though we can't meet in person during the pandemic, we still want to stay connected with you through these online resources that will feed our mutual interest in Asian arts and culture. Until we can meet again, please stay safe and healthy. Essays: East and West: Chinese Export Porcelain https://www.metmuseum.org/toah/hd/ewpor/hd_ewpor.htm Introduced to Europe in the fourteenth century, Chinese porcelains were regarded as objects of great rarity and luxury. Through twelve examples you’ll see luxury porcelains that appeared in Europe in the fifteenth and sixteenth centuries, often mounted in gilt silver, which emphasized their preciousness and transformed them into entirely different objects. The Vibrant Role of Mingqui in Early Chinese Burials https://www.metmuseum.org/toah/hd/mgqi/hd_mgqi.htm Burial figurines of graceful dancers, mystical beasts, and everyday objects reveal both how people in early China approached death and how they lived. Since people viewed the afterlife as an extension of worldly life, these ceramic figurines, called mingqi or “spirit goods,” disclose details of routine existence and provide insights into belief systems over a thousand-year period. Mingqi were popularized during the formative Han dynasty (206 B.C.–220 A.D.) and endured through the turbulent Six Dynasties period (220–589) and the later reunification of China in the Sui (581–618) and Tang (618–907) dynasties. There are eleven ceramic burial goods (and one limestone) as great examples of mingqui. Indian Pottery https://www.veniceclayartists.com/tag/indian-pottery/ The essay is informative but short. -
736 | Asian Art China I – V Lot 1 – 948A 6 – 7 May 2016 Viewing: 3 – 5 May, 10.00 Am – 5.00 Pm
736 | Asian Art China I – V Lot 1 – 948a 6 – 7 May 2016 Viewing: 3 – 5 May, 10.00 am – 5.00 pm Please note that the times given below only give an approximation of the schedule of the auction, during which considerable delays may arise. Please note also that the succession of the following lot numbers may include numbers without belonging to an object. Friday, 6 May 2016 doors open: 09.00 am 9.30 am 1 – 39a China I - Hidden - treasures ca. 9.45 am 41 – 88 China II - Chinese paintings and calligraphy ca. 10.30 am 89 – 140 China III - Tibet, Nepal and South East Asia ca. 10.45 am 141 – 540 China IV ca. 2.00 pm 541 – 714 China V Saturday, 7 May 2016 doors open: 09.00 am 9.30 am 717 – 948a China V Please address enquiries about individual objects to the appropriate expert. Catalogue: Michael Trautmann, Tel.+49 (0) 711 / 649 69 - 310, [email protected] All participants in the auction are bound by our conditions of sale published at the end of this catalogue. Statements by us in the catalogue or in condition reports or made orally or in writing elsewhere regarding the autorship, origin, size, date, medium, attribution genuiness, provenience, condition or estimated selling prize of any lot are merely statements of opinion and are not to be relied on as statements of definitive fact. Prospective buyers are advised to examine the goods in which they are interested before auction takes place. Condition reports available on request Katalogbearbeitung / Catalogue / 圖錄 Michael Trautmann Tel.: ++49 (0)711 / 649 69 - 310 trautmann @ auction.de 1 1 China I 11 China I A FINE CIRCULAR, CARVED CINNABAR A CIRCULAR CINNABAR LACQUER BOX LACQUER (tihong) DISH WITH LANDSCAPE WITH DEPICTION OF SCHOLARS IN A DESIGN AND SCHOLARS IN A GARDEN GARDEN, China, c. -
The Study of Chinese Trade Ceramics in Sungai Sadong, Sarawak Jonathan
THE STUDY OF CHINESE TRADE CERAMICS IN SUNGAI SADONG, SARAWAK JONATHAN KO JIA YI UNIVERSITI SAINS MALAYSIA 2015 THE STUDY OF CHINESE TRADE CERAMICS IN SUNGAI SADONG, SARAWAK by JONATHAN KO JIA YI Thesis submitted in fulfilment of the requirements for degree of Master of Arts January 2015 ACKNOWLEDGEMENTS This study was made possible with the assistance and support of a number of people and organisations. First of all, I would like to thank my supervisor, Associate Professor Dr. Stephen Chia Ming Soon, the Deputy Director of the Centre for Global Archaeological Research (CGAR), Universiti Sains Malaysia (USM), Penang, for his tremendous support and excellent guidance during my research, and for providing me with a conductive environment for doing my research. I would also like to express my gratitude to the Director of CGAR, Professor Dato’ Dr. Mokhtar Saidin for giving me the opportunity to undertake the graduate study program at CGAR. I am deeply indebted to his constant support and encouragement. I also wish to thank USM for providing the environment and the financial assistance for this research under the USM Research University Grant. My thanks also go to the Institute of Postgraduate Studies in USM for providing the USM Postgraduate Fellowship during the course of my study. The analysis of Chinese trade ceramic in Sadong River, Sarawak was done over a period of more than one year at the Archaeology Section, Sarawak Museum Department with the assistance of a number of people. First of all, I would like to thank the Director of the Sarawak Museum Department, Mr. -
ASIAN ART Genoa 15 December 2014 ASIAN ART 15 DECEMBER
COVER_158_Layout 1 20/11/14 17:15 Pagina 1 ASIAN ART Genoa 15 December 2014 ASIAN ARTASIAN 15 DECEMBER DECEMBER 15 GENOVA ROMA MILANO Piazza Campetto, 2 Via Giuseppe Avezzana, 8 Via Santa Marta, 25 Tel. +39 010 2530097 Tel. +39 06 69200565 Tel. +39 02 72023790 2014 Fax +39 010 2517767 Fax +39 06 69208044 Fax +39 02 89015908 [email protected] wannenesgroup.com GE158 lotto 34 1 1 ASIAN ART GENOA,15 DECEMBER 2014 ASTA P AUCTION ESPOSIZIONE P VIEWING Genova Genova Palazzo del Melograno Palazzo del Melograno Piazza Campetto, 2 Piazza Campetto, 2 LUNEDÌ 15 DICEMBRE GIOVEDÌ 11 DICEMBRE Monday 15 December ore 10-13 15-19 Thursday 11 December Tornata Unica 10am to 1pm - 3 to 7pm ore 15.00 lotti 1 - 136 Single Session VENERDÌ 12 DICEMBRE at 3pm (local time) lots 1 - 136 ore 10-13 15-19 Friday 13 December 10am to 1pm - 3 to 7pm SABATO 13 DICEMBRE ore 10-13 15-19 Saturday 13 December 10am to 1pm - 3 to 7pm DOMENICA 14 DICEMBRE ore 10-13 15-19 Sunday 14 December 10am to 1pm - 3 to 7pm La partecipazione all’Asta implica l’integrale e incondizionata accettazione delle Condizioni di Vendita riportate in questo catalogo I lotti potranno essere ritirati a partire da Giovedì 18 Dicembre esclusivamente previo appuntamento telefonico +39 010 2530097 lotto 25 in copertina: Taking part in the Auction implies the entire and uncondItional acceptance of the Conditions of Sale outlined in this Catalogue. lotti 87, 93, 34 e 51 The lots may be collected from Thursday 18 December, by telephone appointment calling +39 010 25 300 97. -
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.