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Among the most revered and beloved artworks in China are ceramics—sculptures and vessels that have been utilized to embellish tombs, homes, and studies, to drink tea and wine, and to convey social and cultural meanings such as good wishes and religious beliefs. Since the eighth century, Chinese ceramics, particularly porcelain, have played an influential role around the world as trade introduced their beauty and surpassing craft to countless artists in Europe, America, and elsewhere. Spanning five millennia, the Metropolitan Museum’s collection of Chinese ceramics represents a great diversity of materials, shapes, and subjects. The remarkable selections presented in this volume, which include both familiar examples and unusual ones, will acquaint readers with the prodigious accomplishments of Chinese ceramicists from Neolithic times to the modern era. As with previous books in the How to Read series, How to Read Chinese Ceramics elucidates the works to encourage deeper understanding and appreciation of the meaning of individual pieces and the culture in which they were created. From exquisite jars, bowls, bottles, and dishes to the elegantly sculpted Chan Patriarch Bodhidharma and the gorgeous Vase with Flowers of the Four Seasons, How to Read Chinese Ceramics is a captivating introduction to one of the greatest artistic traditions in Asian culture.
Information on "origins and development of the Chinese written language" precedes the extensive catalog of marks, including marks in regular kaishu script, marks in zhuanshu seal scripts, symbols used as marks, directory of marks, and list of potters.
This book celebrates the most important collection of 17th-century Chinese porcelain in the world, assembled by the distinguished British diplomat Sir Michael Butler. His passion for porcelain is clearly reflected in the over eight hundred pieces he collected and lived with at his home and private museum in Dorset. The pots (as Sir Michael called them), many of extreme rarity or exquisite quality, give testimony to the incredible depth of knowledge he acquired over five decades and his outstanding contribution to research and education in this previously neglected field of study. This lavish and comprehensive collection covers most types of porcelain produced at Jingdezhen, in Jiangxi province, during the 17th century. The variety of the pieces carefully acquired by Sir Michael reflects the great innovative spirit of the highly skilled Jingdezhen potters and painters at a time when they were released from the controls of Imperial patronage, between the end of the reign of the Ming Emperor Wanli in 1620 and the re-establishment of the Imperial kilns by the Qing Emperor Kangxi in 1683. It is a study collection of porcelain unrivalled in its breath and rarity that demonstrates the stylistic and qualitative evolution which occurred in Chinese porcelain production during the 17th century. An introduction written by Katharine Butler tells the fascinating story of the circumstances that encouraged her father to acquire, collect and passionately study Chinese porcelain of the 17th century; how he found rare pieces with dates, interesting inscriptions, seal marksor narrative scenes; and how the collection and his scholarly publications came to be internationally renowned. The core of the book is composed of nine sections presenting the main categories of porcelains in the collection: Late Ming, High Transitional, Shunzhi, Early Kangxi, Mid-Late Kangxi, Monochromes and Famille Verte, as well as disputed pieces. Some of the highlights are the extremely rare High Transitional pieces painted only in overglaze enamels dating to the Chongzhen reign, c.1640-43; the first piece acquired by Sir Michael, a green enamel winepot, dating to the early Kangxi reign, c.1665-70; a group of rare dated Zhonghe Tang pieces painted in underglaze blue and red, and an early Kangxi basin finely painted in underglaze blue and red with a Master of the Rocks landscape, dating to c.1670-75. Leaping the Dragon Gate refers to the symbolic metamorphosis from a humble carp to a mighty dragon - the most powerful of the Four Divine Creatures - that a student would undergo on succeeding in the Jinshi or Imperial civil service examinations. Passing these examinations required years, sometimes decades, of enormous effort to acquire the requisite educational merit and success was very rare. It is a worthy metaphor for Sir Michael's scholarly achievement. This 384-page book with over 600 colour illustrations is a catalogue raisonné of almost his entire 17th century porcelain collection, including many previously unpublished pieces. In the spirit of keeping the family legacy of acquisition and scholarship alive, the authors have included a few important, recently purchased pieces and also have revised and expanded the list of all known dated pieces of 17th Century Chinese porcelain in the world that Sir Michael compiled in his 1992 USA exhibition catalogue.
Presents 50 selected highlights of this world-renowned collection ... The accompanying text gives brief details and draws out their most significant features"--Cover flap.
"Chinese Pottery and Porcelain: Vol. 1. Pottery and Early Wares" by R. L. Hobson is an academic compilation and commentary on Chinese pottery. Chinese pottery has been a complicated and intricate artwork since its inception, and people have always been interested in how it's evolved over the years. This book allows some insight into the process as well as sharing some prime examples of it.
An incomparable look at how Chinese artists have used mass production to assemble exquisite objects from standardized parts Chinese workers in the third century BC created seven thousand life-sized terracotta soldiers to guard the tomb of the First Emperor. In the eleventh century AD, Chinese builders constructed a pagoda from as many as thirty thousand separately carved wooden pieces. As these examples show, throughout history, Chinese artisans have produced works of art in astonishing quantities, and have done so without sacrificing quality, affordability, or speed of manufacture. In this book, Lothar Ledderose takes us on a remarkable tour of Chinese art and culture to explain how artists used complex systems of mass production to assemble extraordinary objects from standardized parts or modules. He reveals how these systems have deep roots in Chinese thought and reflect characteristically Chinese modes of social organization. Combining invaluable aesthetic and cultural insights with a rich variety of illustrations, Ten Thousand Things make a profound statement about Chinese art and society.
Dehua porcelain, or Blanc de Chine as it is known in the West, is pure ivory-white porcelain made at the Dehua kilns in the southern Chinese province of Fujian. It rose to international significance in the 17th century and inspired aristocratic patronage in the development of European porcelain. Its popularity at home and abroad continued and the k
The first book in the Encyclopedia of Japanese Art series is devoted to Hirado porcelain and is the only work devoted exclusively to the subject in English. This much needed volume traces the origins of one of Japan's great porcelain manufacturers from its first years in the 17th century to its closure early in the 20th century. Illustrated with over 100 color plates, almost all of which are published for the first time, it displays the extraordinary range of Hirado wares originally made exclusively for the wealthy Matsura family. It conclusively demonstrates that Hirado was an important kiln in the history of Japanese ceramics and its widely varied wares rank among the finest made. Within the appendices of this book is a unique and comprehensive section devoted to over 90 marks found on Hirado wares. The eccentric charm and superlative quality of this rare porcelain is admirably displayed in this book by scholar and dealer, Louis Lawrence with an introduction by the renowned collector David Hyatt King.--Amazon.com.