Bibliografías temáticas / Porcelain, chinese – collectors and collecting

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Literatura académica sobre el tema "Porcelain, chinese – collectors and collecting"

Autor: Grafiati
Publicado: 26 de julio de 2024
Última modificación: 31 de julio de 2025

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Artículos de revistas sobre el tema "Porcelain, chinese – collectors and collecting"

1

Teece, Denise-Marie. "Monsoon Winds and Ming Porcelains: Chinese Ceramics and Their Reception in Early Modern South Asia." Muqarnas Online 40, no. 1 (2024): 103–53. http://dx.doi.org/10.1163/22118993_0040_006.

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Abstract This essay will explore the arrival, acquisition, and reception of Chinese ceramics within early modern South Asia, with a focus on the Mughal dynasty (r. 1526–1857) courtly context. The first step in placing South Asian ceramic collecting practices within the broader historical and geographic circulation of porcelains in the Gulf and Indian Ocean worlds is understanding the breadth and nature of South Asian collections. While the Safavid porcelain collections donated by Shah Abbas to Ardabil, and the massive Chinese porcelain collection of the Ottoman courts held today in Istanbul’s
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2

Wang, Yu, and Zhengding Liao. "Porcelain interior plastic of the 1950s in museums and private collections in China." Issues of Museology 12, no. 1 (2021): 58–67. http://dx.doi.org/10.21638/spbu27.2021.106.

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In the two decades since the establishment of the people’s Republic of China, the challenges facing porcelain production have changed significantly. Porcelain production is one of the most important and oldest traditions in China. In the 1950s, porcelain craftsmen became involved in the creation of new forms of interior plastics. Many of the pieces they created are now part of museum collections and represent the history of the development of Chinese interior porcelain. Using the example of three museums and three reference monuments, the article examines the key trends in the development of p
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3

Guseva, Anna V. "Chinese Paintings from Western Museum Collections at the International Exhibition of Chinese Art in London, 1935: On the History of Collecting and Attributing Chinese Paintings." Izvestia of the Ural federal university. Series 2. Humanities and Arts 24, no. 2 (2022): 287–302. http://dx.doi.org/10.15826/izv2.2022.24.2.040.

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The International Exhibition of Chinese Art that took place in London’s Burlington House from November 1935 to March 1936 is recognised as the major exhibition of ancient and classical Chinese art of the twentieth century. Over two hundred collectors and institutions from 14 countries provided their objects of art to the exhibition. None of the previous exhibitions had had as many items: the number of objects was extraordinary with 3,080 entries in the catalogue of the London exhibition. Moreover, it was the first foreign exhibition presenting items from the former imperial collection of the F
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4

Wang, Xingqian. "Contemporary ceramic art of China: a look from the perspective of the art market." Культура и искусство, no. 8 (August 2023): 86–95. http://dx.doi.org/10.7256/2454-0625.2023.8.43723.

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The object of this research is contemporary Chinese art in the context of the latest trends in the development of the global and national art market. The subject of the study is the problem of underestimation of modern ceramic art in China and its potential from the standpoint of the art market. The history of the issue is considered, the analysis of the main directions of research development in this subject area is carried out. In addition, the article clarifies the existing concept of "modern ceramic art" in China. Special attention is paid to the analysis of the most significant modern obj
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5

Zhang, Wenpu. "A Chinese screen in the collection of the State Hermitage Museum." Культура и искусство, no. 6 (June 2024): 225–34. http://dx.doi.org/10.7256/2454-0625.2024.6.70796.

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The object of the study is a Chinese screen. The subject of the study is the characteristic features of the Chinese screen based on the material of the Hermitage collection. During the consideration of the topic, such issues as the degree of study of the issues under consideration, the connection of the screen with the fields of fine and decorative arts are traced and analyzed. The analysis of seven items from the collection of the State Hermitage Museum is carried out. The analysis of rare samples of the Chinese screen allows us to identify the characteristic features of this subject, the spe
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6

Colomban, Philippe, Gulsu Simsek Franci, Jacques Burlot, Xavier Gallet, Bing Zhao, and Jean-Baptiste Clais. "Non-Invasive On-Site pXRF Analysis of Coloring Agents, Marks and Enamels of Qing Imperial and Non-Imperial Porcelain." Ceramics 6, no. 1 (2023): 447–74. http://dx.doi.org/10.3390/ceramics6010026.

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On-site pXRF analysis in various French collections (Musée du Louvre, Musée national des Arts asiatiques-Guimet, Paris) of porcelains decorated with painted enamels from the Qing Dynasty, in particular porcelains bearing an imperial mark, identifies the types of enamels/glazes, the ions and coloring phases or the opacifier. The study of the elements associated with cobalt (nickel, manganese, arsenic, etc.) and of the impurities of the silicate matrix (yttrium, rubidium and strontium) differentiates the use of ‘Chinese/Asian’ raw materials from ones imported from Europe by the initiative of the
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7

Mouquin, Sophie. "Chinese Porcelain from the Butler Collections, MNHA, 2008." Revue du Nord 379, no. 1 (2009): VII. http://dx.doi.org/10.3917/rdn.379.0177g.

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Détrez, Louise, and Delphine Miroudot. "Trois pagodes monumentales de la BnF et du musée de Sèvres : histoires croisées." Sèvres. Revue de la Société des Amis du musée national de Céramique 33, no. 1 (2024): 118–30. https://doi.org/10.3406/sevre.2024.1664.

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Three monumental Chinese porcelain pagodas belong to the French national collections. Their restoration has just been completed for two of them and this study takes stock of their ancient and contemporary history.
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Vinokurov, Sergej E. "Chinese porcelain of the late qing period with "pavilion" stamps: Problems of study and attribution of artworks." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 53 (2024): 123–34. http://dx.doi.org/10.17223/22220836/53/10.

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Studies and publications of artworks from museums and private collections, published in recent decades, indicate that porcelain production in China received a new impetus for development in the second half of the 19th century. The article examines artworks with the so-called “pavilion” mark “daya zhai” from a private collection. The author substantiates stylistic transformations and changes in the marking of objects, highlights the problems of attribution research and establishing the authenticity of works of Chinese porcelain of the late imperial period. Late Chinese porcelain with “pavilion”
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10

Telste, Kari. "A Wedding Gift and Transculturation: Chinese Porcelain in Norway and the Danish Asian Company in China in the Eighteenth Century." Cultural History 7, no. 1 (2018): 1–19. http://dx.doi.org/10.3366/cult.2018.0156.

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Norwegian museums have large collections of chinaware, dating from the eighteenth century; most of it imported after the foundation the Danish Asian Company in 1732. I have selected a tea and coffee service in the collections of Norsk Folkemuseum: Norwegian Museum of Cultural History as a passageway to trace the entanglement of Norwegian consumers in cultural interactions with China. The service is part of a broader history of transculturation. This is a history of encounters and exchanges involving the cultural translation of Chinese designs in Europe, and Western designs in China. Into the t
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Tesis sobre el tema "Porcelain, chinese – collectors and collecting"

1

Knittler, Konstanze Amelie. "Motivations and patterns of collecting : George Salting, William G. Gulland and William Lever as collectors of Chinese porcelain." Thesis, University of Glasgow, 2011. http://theses.gla.ac.uk/2811/.

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The collecting of Chinese ceramics had become an increasingly popular activity in late 19th-century Britain. Whereas the 18th century was characterised by an interest in porcelain for the purpose of interior design, the political developments between China and Britain enabled a new approach to Chinese cultural identity; different Chinese material became available in the wake of the Second Opium War (1856-1860) and the subsequent sacking of the Imperial Summer Palace of Yuanmingyuan, and this material entered Britain for the first time. Due to the opening of China to foreign merchants, Britons
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2

Zheng, Yongsong. "Blanc de Chine (1490-1949) : l'odyssée de la porcelaine de Dehua." Electronic Thesis or Diss., Sorbonne université, 2025. http://www.theses.fr/2025SORUL008.

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Traduite telle quelle en chinois moderne, Zhongguo bai 中國白, l'expression « blanc de Chine » sert aujourd'hui à désigner la porcelaine blanche provenant des fours de Dehua, dans la province côtière du Fujian, où elle est fabriquée depuis la dynastie des Ming (1368-1644). Malgré sa présence marquée dans les collections françaises, la recherche spécifique sur cette porcelaine est très limitée, laissant ouvertes les questions d'identification, de provenance et de datation. Cette thèse vise donc à proposer une nouvelle synthèse sur cette porcelaine, partant de sa réception en Europe, puis de sa dif
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3

Lim, Eunmin. "Re-collections and movements : Murray Marks's translations of Chinese porcelain and Italian Renaissance bronzes, ca. 1860-1918." Thesis, University of York, 2015. http://etheses.whiterose.ac.uk/17780/.

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In his work Truth and Method, Hans-Georg Gadamer suggests rehabilitating the decorative element in art, which was discredited by Kant’s aesthetics in an antithetical relationship to the concept of art based on ‘pure form.’ As decoration is determined by its relation to what it is decorating, it is neither placeless nor timeless. The temporality and place of the work of decorative art question “the aesthetic consciousness according to which the work of art is what is outside all space and all time.” Drawing on Gadamer’s philosophical hermeneutics, this study aims to explore how the London-based
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4

Chopard, Lucie. "La collection d'Ernest Grandidier au Louvre (1870-1915) : voir, comprendre, donner à voir la porcelaine chinoise." Thesis, Université Paris sciences et lettres, 2021. http://www.theses.fr/2021UPSLP091.

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En 1894, une collection de plus de trois mille pièces, déjà célèbre à Paris, entre au Musée du Louvre : il s'agit de la collection d'Ernest Grandidier (1833-1912). La nature des objets qui la composent — des porcelaines chinoises — et le rôle que le collectionneur entend continuer de jouer auprès de sa collection — il exige d'en devenir le conservateur — la distinguent des autres libéralités qui affluent au musée sous la Troisième République. De l'installation de sa collection à l'entresol de la Grande Galerie en 1895, à sa mort en 1912, Grandidier n'aura de cesse, au musée, d'enrichir ses vit
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5

Wear, Eric Otto, and 華立強. "Patterns in the collecting and connoisseurship of Chinese art in Hong Kong and Taiwan." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2000. http://hub.hku.hk/bib/B43894392.

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6

Vivien, Béatrice. "Les demeures et collections d'un grand seigneur : René de Longueil, Président de Maisons (1597-1677)." Thesis, Paris 4, 2014. http://www.theses.fr/2014PA040195.

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René de Longueil hérita de façon imprévue et presque simultanée de la seigneurie familiale de Maisons en 1629 et de l’héritage provenant de la famille de sa femme en 1630 qu’il sut par son habileté tourner à son avantage. Il entreprit dès lors la construction d’un château neuf, confié à François Mansart ainsi qu’à l’équipe de Jacques Sarrazin, célébré comme l’une des plus belles demeures de France. Mais il ne vit l’achèvement du projet que dix années avant sa mort, faisant de Maisons un chantier permanent, celui-ci ayant été conduit en plusieurs phases successives. A Paris, il habita rue de Bé
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7

"明中葉吳中地區書法鑑藏與文徵明書法之關係 =: Connoisseurship of calligraphy in Suzhou during mid-Ming and its relationship with Wen Zhengming's calligraphy". 香港中文大學, 1995. http://library.cuhk.edu.hk/record=b5895577.

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鄧民亮.<br>論文(碩士) -- 香港中文大學硏究院藝術學部,1995.<br>參考文獻: leaves [1-9] (2nd group)<br>Deng Minliang.<br>前言 --- p.2<br>Chapter 第一章 --- 吳中地區的復興對書法好¯‘ة之影響 --- p.4<br>Chapter 第二章 --- 文徵明的交遊與吳中文苑 --- p.22<br>Chapter 第三章 --- 吳中地區的書法收藏槪況與 文徵明的鑑藏活動 --- p.72<br>Chapter 第四章 --- 文徵明的書學 --- p.103<br>Chapter 第五章 --- 文徵明的書法風格與所見藏品之關係 --- p.122<br>總結 --- p.157<br>參考書目<br>附錄一文徵明家藏及題跋書法名蹟<br>附錄二著錄所見及傳世文徵明所書《千字文》<br>附錄三文徵明題跋所見引用書目<br>附錄四吳寬《匏翁家藏集》所載書法題跋<br>附錄五都穆《寓意編》所載書法收藏<br>附錄六華夏所藏書法<br>附錄七《珊瑚網》所載王世貞書法收藏<br>附錄八《珊瑚網》所載王世貞收藏碑帖<br>附錄九《珊瑚網》所載王世懋收藏書法<br>附錄十項元汴所藏書法<br>附錄十一《鈐山堂書畫記》所載書法收藏<br>附錄十二《珊瑚網》著錄書法收藏<br>附錄十三詹景鳳《東圖玄
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Libros sobre el tema "Porcelain, chinese – collectors and collecting"

1

Castelluccio, Stéphane. Collecting Chinese and Japanese porcelain in pre-revolutionary Paris. The J. Paul Getty Museum, 2013.

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2

Ekkehard, Schmidberger, Achenbach Nora von, Klein Lisa, Weinberger Cornelia, and Landesmuseum (Staatliche Kunstammlungen Kassel). Abteilung Kunsthandwerk und Plastik., eds. Porzellan aus China und Japan: Die Porzellangalerie der Landgrafen von Hessen-Kassel, Staatliche Kunstsammlungen Kassel. D. Reimer, 1990.

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Mark, Hinton, Impey O. R, Ashmolean Museum, and Christie, Manson & Woods., eds. Kensington Palace and the porcelain of Queen Mary II: Essays in association with the exhibition China Mania, a re-creation of Queen Mary II's display of oriental porcelain at Kensington Palace in the 1690's. Christie's, 1998.

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(Netherlands), Rijksmuseum, Haags Gemeentemuseum, Groninger Museum, and Museum Het Princessehof, eds. Chinese and Japanese porcelain for the Dutch Golden Age. Waanders Uitgevers, 2014.

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5

T, Bailey Ann, Howard David S, and Washington and Lee University. Reeves Center., eds. Chinese export porcelain: In the Reeves Center collection at Washington and Lee University. Third Millennium Publishing, 2003.

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1940-, Wu Tung, ed. Earth transformed: Chinese ceramics in the Museum of Fine Arts, Boston. MFA Publications, 2001.

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7

Leite, José Roberto Teixeira. As companhias das Indias e a porcelana chinesa de ecomenda. Fundação Cultural da Bahia, 1986.

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8

Étienne, Martin, and Musée des arts décoratifs (Strasbourg, France), eds. Le goût chinois du cardinal Louis de Rohan: Les collections extrême-orientales du Musée des arts décoratifs. Musées de la ville de Strasbourg, 2008.

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translator, Han Jean, ed. Zhongguo tao ci zai Yingguo (1560-1960): Cang jia, cang pin yu bo wu guan. Shanghai shu hua chu ban she, 2017.

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1955-, Stuart Jan, Tam Laurence C. S, and Arthur M. Sackler Gallery (Smithsonian Institution), eds. Joined colors: Decoration and meaning in Chinese porcelain : ceramics from collectors in the Min Chiu Society, Hong Kong. Arthur M. Sackler Gallery, Smithsonian Institution, 1993.

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Capítulos de libros sobre el tema "Porcelain, chinese – collectors and collecting"

1

Xia, Nai. "Chinese Export Porcelain Collections in Sweden." In Studies in Silk Road Archaeology. Springer Nature Singapore, 2024. http://dx.doi.org/10.1007/978-981-99-7475-7_17.

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Glaister, Helen. "Chinese Porcelain in European Style." In Chinese Art Objects, Collecting, and Interior Design in Twentieth-Century Britain. Routledge, 2022. http://dx.doi.org/10.4324/9781003230779-1.

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Suchomel, Filip. "Chinese Porcelain in the Czech Aristocratic Collections of the 17th, 18th and 19th Century." In Investigation and Conservation of East Asian Cabinets in Imperial Residences (1700–1900). Böhlau Verlag, 2017. http://dx.doi.org/10.7767/9783205207139.153.

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