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Artículos de revistas 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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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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8

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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9

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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11

Colomban, Philippe, Burcu Kırmızı, Bing Zhao, Jean-Baptiste Clais, Yong Yang, and Vincent Droguet. "Investigation of the Pigments and Glassy Matrix of Painted Enamelled Qing Dynasty Chinese Porcelains by Noninvasive On-Site Raman Microspectrometry." Heritage 3, no. 3 (2020): 915–40. http://dx.doi.org/10.3390/heritage3030050.

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A selection of 15 Chinese painted enameled porcelains from the 18th century (Qing dynasty) was analyzed on-site by mobile Raman and XRF microspectroscopy. The highly prized artifacts are present in the collections of the Musée du Louvre in Paris and Musée Chinois at Fontainebleau Castle in France. In the painted enamels, pigments such as Naples yellow lead pyrochlore, hematite, manganese oxide and carbon and opacifiers such as lead arsenates were detected. The glassy matrices of the enamels mainly belonged to lead-rich and lead-alkali glass types according to the Raman spectra obtained. The gl
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12

Grela-Chen, Magdalena. "Antithesis versus Inspiration: Chinese Clothing in the Eyes of Western Theorists and Fashion Designers." Intercultural Relations 4, no. 2(8) (2021): 81–95. http://dx.doi.org/10.12797/rm.02.2020.08.05.

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Dress is a part of Chinese cultural heritage that has fascinated Western audiences for centuries. On the National List of Intangible Cultural Heritage of China, there are items related to textiles, embroideries and certain examples of Chinese clothing. This article analyses issues connected with the different uses of Chinese dress in the West. To fashion theorists such as Bell, Wilson, Sapir and Veblen, Chinese dress was the opposite of modern Western clothing and did not deserve to be called fashion. However, researchers such as Welters, Lillethun and Craik have opposed viewing fashion theory
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13

Новікова Ольга. "ЦІНСЬКИЙ ФАРФОР ІЗ НАДПОЛИВ'ЯНИМ РОЗПИСОМ ЕМАЛЕВИМИ ФАРБАМИ (FAMILLE ROSE) З КОЛЕКЦІЇ НАЦІОНАЛЬНОГО МУЗЕЮ МИСТЕЦТВ ІМЕНІ БОГДАНА І ВАРВАРИ ХАНЕНКІВ". World Science 2, № 1(41) (2019): 33–39. http://dx.doi.org/10.31435/rsglobal_ws/31012019/6304.

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 The article deals with the works of polychrome painted Chinese porcelain created in the Qing era from the Bohdan and Varvara Khanenko Museum of Arts. Each product is analyzed in terms of its color, decoration and image scenes. Attention of the author is focused on symbolic images, among which are anthropomorphic, zoomorphic and vegetative motifs, end variations of the so-called Chinese still life.As a result of the study, three items of Chinese polychrome porcelain with super-polished painted enamel paints were analyzed. The disclosure of semantic content, symbols and sema
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14

Jeong, Eunjin. "Collecting and Researching Chosŏn White Porcelain in Modern Japan: focusing on the late 1920s." Korean Journal of Art History 319 (September 30, 2023): 145–72. http://dx.doi.org/10.31065/kjah.319.202309.005.

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The study of Korean ceramics in the modern period was initiated by the discovery of Koryŏ celadon. The first collectors were mainly Europeans and Americans but it was not long before Japanese scholars, namely Yamayoshi Moriyoshi(1859-?) and Yagi Shozaburo(1866-1942), attempted to establish the history of Korean ceramics, introducing Chosŏn dynasty into the history for the first time. Thereafter, Japanese scholars and collectors dominated the study and collection of Korean ceramics. In the 1920s, the Asakawa Noritaka(1884-1964) and Takumi(1891-1931) brothers and Yanagi Muneyoshi(1889-1961) pion
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15

Clark, Leah R. "The peregrinations of porcelain." Journal of the History of Collections 32, no. 2 (2019): 275–88. http://dx.doi.org/10.1093/jhc/fhy063.

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Abstract The Medici of Florence have long been acknowledged as possessing the largest collection of Chinese porcelain in the fifteenth century, but this article reveals that in fact Eleonora d’Aragona, Duchess of Ferrara had the largest such collection in Italy at this time. In fifteenth-century Europe, porcelain came not directly from China but rather through trade and diplomacy with foreign courts, so that its peregrinations gave rise to entangled histories and reception. Taking porcelain as a case-study, it is argued here that examining collecting through the lens of trade and diplomacy pro
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16

Krahl, Regina. "Export porcelain fit for the Chinese emperor. Early Chinese blue-and-white in the Topkapĭ Saray Museum, Istanbul." Journal of the Royal Asiatic Society of Great Britain & Ireland 118, no. 1 (1986): 68–92. http://dx.doi.org/10.1017/s0035869x00139127.

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The Topkapĭ Saray holds one of the world's largest collections of Chinese ceramics, but at the same time one of the least well known. It consists of over ten thousand pieces, of which roughly fifteen percent are on permanent display; only a few hundred items have ever been published, and not more than twenty-five objects have been on exhibition outside Turkey. To compare this collection with the even larger one in the National Palace Museum, Taipei, is quite instructive: the pieces are completely different and have almost no item in common in spite of the fact that they cover largely the same
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17

Wang, Yuxin, and Cheeyun Kwon. "2023 Frieze Seoul and Kiaf Seoul Art Fair: The Chinese Art Collectors’ Collecting Motivations and Taste." Korea Association Of Cultural Economics 27, no. 3 (2024): 115–45. https://doi.org/10.36234/kace.2024.27.3.115.

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The number of Chinese visitors to the Frieze Seoul art fair has been increasing in the past two years. The Chinese art collectors have shown great interest in the Korean art market and artists. This has led to the purchase of artworks, impacting on the Korean art market. Based on in-depth interviews, this study analyzes the collecting motivations and taste of 10 Chinese VIP art collectors (from Beijing, Shanghai, Hong Kong, and Taiwan) who visited Seoul during the Seoul Art Week from September 6-9, 2023. The collected data were coded using the NVivo 14 and analyzed by Strauss and Corbin’s grou
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18

Colomban, Philippe, Burcu Kırmızı, Bing Zhao, Jean-Baptiste Clais, Yong Yang, and Vincent Droguet. "Non-Invasive On-Site Raman Study of Pigments and Glassy Matrix of 17th–18th Century Painted Enamelled Chinese Metal Wares: Comparison with French Enamelling Technology." Coatings 10, no. 5 (2020): 471. http://dx.doi.org/10.3390/coatings10050471.

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A selection of 10 Chinese enamelled metal wares dating from the 17th–18th centuries (Qing Dynasty) was analysed on-site by mobile Raman microspectroscopy. These wares display cloisonné and/or painted enamels and belong to the collections of Musée du Louvre in Paris and Musée Chinois at the Fontainebleau Castle in France. Pigments (Naples yellow lead pyrochlore, hematite, manganese oxide etc.), opacifiers (fluorite, lead arsenates) and corresponding lead-based glassy matrices were identified. One artefact was also analysed by portable X-ray fluorescence spectrometry (pXRF) in order to confirm t
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19

Berdajs, Tina. "Unveiling the Provenance." Asian Studies 13, no. 1 (2025): 227–48. https://doi.org/10.4312/as.2025.13.1.227-248.

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This paper offers an insight into the earliest museum donations of East Asian objects in the area of present-day Slovenia. A special focus is given to the donations of porcelain by noblewomen donors in the first half of the 19th century, notably in the year 1833. It expands on their backgrounds and biographies, as well as tries to determine the circumstances in which they acquired and were able to donate or bequest Japanese and Chinese porcelain (and in some cases other ceramics of East Asian origin) to museum collections. The earliest donations are presented through in-depth studies of Illyri
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20

Cieminska, Joanna. "Chinese porcelain 'embrechados' in Portuguese garden architecture." Orientations 54, no. 3 (2022): 142–49. https://doi.org/10.5281/zenodo.7695666.

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Chinese porcelain began to be integrated into the decoration of Italian, Portuguese, and Spanish palace interiors in the 16th century, but the use of porcelain for exterior decoration, such as in garden architecture, cannot be observed in the early modern times outside Portugal. Intact porcelain plates and the cut out wells (bottoms) of plates and bowls would be stuck in the character of medallions on internal and external surfaces of garden pavilions, chapels, and fountains, with tiny pieces of broken borders applied together to fill out cartouches. This technique of applying shells, stones,
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21

Chopard, Lucie. "Connaître pour apprécier ? Collectionner la porcelaine chinoise religieuse à Paris dans la seconde moitié du XIXe siècle." Histoire de l'art 82, no. 1 (2018): 123–32. https://doi.org/10.3406/hista.2018.3784.

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During the second half of the nineteenth century, collector Ernest Grandidier (1833-1912) reunited thousands of Chinese porcelains in his collection. The books produced after this material, La Céramique chinoise, are important pieces of evidence for the knowledge and taste of the collector, helping to chart the choices he made in the parisian art market. This paper aims to present aspects of current research regarding the perception of those objects by Grandidier, particularly the religious pieces. The identifica-tion and analysis of the sources that Grandidier utilized informs an understandin
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22

Willmott, Cory. "The Paradox of Gender among West China Missionary Collectors, 1920-1950." Social Sciences and Missions 25, no. 1-2 (2012): 129–65. http://dx.doi.org/10.1163/187489412x628118.

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During the turbulent years between the Chinese nationalist revolution of 1911 and the communist victory of 1949, a group of missionaries lived and worked in West China whose social gospel theologies led to unusual identification with Chinese. Among the regular social actors in their lives were itinerant “curio men” who, amidst the chaos of feuding warlords, gathered up the heirlooms of the deposed Manchurian aristocracy and offered these wares for sale on the quiet and orderly verandahs of the mansions inside the missionary compounds of West China Union University. Although missionary men and
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23

Akimov, Dmytro. "The Venice Biennale, French porcelain and historical retrospective on marketing and expertise in the field of fine arts." Collection of scientific works “Notes on Art Criticism” 24, no. 1 (2024): 33–44. http://dx.doi.org/10.63009/noac/1.2024.33.

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The relevance of this article is based on shaping new modern world’s market relations one of which is the art market. The aim of the research is the analysis of the marketing interrelations and tendencies in the market of the 20th-21st centuries together with the previous historical periods. In order to hit the goal of the research, theoretical, empirical and comparative researching methods have been used. It sets theoretical foundations of the visual arts marketing and the ways of their practical application. Already before the modern art market as an element of a total capitalistic market ca
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24

Ng, Ashton. "Bibliophilia: the Passion of Ming Dynasty Private Book Collectors." Ming Qing Yanjiu 24, no. 2 (2020): 279–300. http://dx.doi.org/10.1163/24684791-12340051.

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Abstract In the Ming dynasty (1368–1644), book collecting evolved from an elite pastime into a widespread obsession. ‘Bibliophilia’—the passionate love for books—drove many book collectors to exhaust their fortunes or even trade their concubines for books. As books became indispensable towards gaining respectability in Chinese society, scholars, merchants, and landowners ensured that their residences were thoroughly infused with the prestigious “fragrance of books”. Some literati even regarded book collecting as a man’s most important undertaking in life. Ming private book collectors broke awa
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25

Yang, Panpan. "How porcelains make love: Geng Xue’s Mr. Sea (2014) and other moving image works." Journal of Contemporary Chinese Art 12, no. 1 (2025): 37–56. https://doi.org/10.1386/jcca_00120_1.

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This article illuminates the secret symmetry between animation and porcelain mainly through a close reading of contemporary Chinese artist Geng Xue’s (b. 1983) single-channel video installation Hai gongzi (Mr. Sea 2014), which presents a fantastical world almost entirely composed of blue-and-white porcelains. My analysis of Mr. Sea is situated (1) in relation to the legacy of the Shanghai Animation Studio; (2) in the discourse of how porcelain becomes contemporary art and (3) in Geng Xue’s oeuvre. Drawing on first-hand materials gathered through a studio visit and in-depth conversations with G
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26

Williams, Emily Rebecca. "Red Collections in Contemporary China." British Journal of Chinese Studies 11 (June 29, 2021): 71–90. http://dx.doi.org/10.51661/bjocs.v11i0.73.

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“Red Collecting” is a widespread phenomenon in contemporary China. It refers to the collecting of objects from the Chinese Communist Party’s history. Red Collecting has received only minimal treatment in English-language scholarly literature, much of which focuses on individual object categories (primarily propaganda posters and Chairman Mao badges) and overemphasises the importance of Cultural Revolution objects within the field. Because of this limited focus, the collectors’ motivations have been similarly circumscribed, described primarily in terms of either neo-Maoist nostalgia or the purs
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27

Litvin, Tatyana A. "The dragon motif in Far Eastern porcelain: Towards attribution problems." Issues of Museology 14, no. 1 (2023): 48–59. http://dx.doi.org/10.21638/spbu27.2023.104.

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The article is devoted to the analysis of a typical Chinese figurative motif — a dragon, in porcelain objects of the Ming and Qing dynasties and in works of Japanese ceramic art of the Meiji era. The approach to the study of decorative and applied art from the point of view of the motive has been repeatedly tested by the author when compiling typological series of antique motifs in the decorative and applied art of Russian classicism. The novelty of this article is that for the first time more than fifty Chinese and Japanese objects with dragons dating from the 14th — early 20th centuries orig
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28

Peraš, Ines, Milica Mandić, and Slađana Nikolić. "Settlement patterns of molluscs, with particular reference on Great Mediterranean scallop (Pecten jacobaeus, Linnaeus) and biofouling organisms on different type of collectors and locations in Boka Kotorska Bay." Acta Adriatica 63, no. 1 (2022): 9–26. http://dx.doi.org/10.32582/aa.63.1.1.

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The settlement of molluscs’ larvae of and other biofouling organisms on experimental collectors was studied, with particular reference Great Mediterranean scallop, Pecten jacobaeus. Three types of experimental collector made from vegetable sacks, modelled based on the collectors used in Japan, were placed in four existing fish and shellfish farms located in the Boka Kotorska Bay. The experimental collectors were placed in the periods June–October and June–December 2017 and the period August 2017–February 2018 and monitored after immersion of four to six months, respectively. In total, 18 speci
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29

Peraš, Ines, Milica Mandić, and Slađana Nikolić. "Settlement patterns of molluscs, with particular reference on Great Mediterranean scallop (Pecten jacobaeus, Linnaeus) and biofouling organisms on different type of collectors and locations in Boka Kotorska Bay." Acta Adriatica 63, no. 1 (2022): 9–26. http://dx.doi.org/10.32582/aa.63.1.1.

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The settlement of molluscs’ larvae of and other biofouling organisms on experimental collectors was studied, with particular reference Great Mediterranean scallop, Pecten jacobaeus. Three types of experimental collector made from vegetable sacks, modelled based on the collectors used in Japan, were placed in four existing fish and shellfish farms located in the Boka Kotorska Bay. The experimental collectors were placed in the periods June–October and June–December 2017 and the period August 2017–February 2018 and monitored after immersion of four to six months, respectively. In total, 18 speci
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30

Lee, Ja Won. "Collecting Culture, Representing the Self: Chosŏn Portraits of Collectors of Chinese Antiquities." Seoul Journal of Korean Studies 31, no. 1 (2018): 1–20. http://dx.doi.org/10.1353/seo.2018.0001.

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Guoyi, Qin. "COLLECTING CHINA ART OBJECTS IN ENGLAND IN THE 19TH CENTURY." Articult, no. 3 (2022): 18–24. http://dx.doi.org/10.28995/2227-6165-2022-3-18-24.

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In the article, in the form of a brief overview, the Chinese influence on European art, in particular on English art, in the 19th century is described. The history of the emergence of Chinese art in Britain is summarized, the main stages of collecting and their prominent representatives are described. The article describes such areas of art as porcelain, engravings, painting, architecture, shows a description of their influence on European art, gives the reasons for the appearance of Chinese art in Europe. This article corrects the current picture of the development of collecting, based mainly
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32

Ian Shin, K. "The Chinese Art “Arms Race”." Journal of American-East Asian Relations 23, no. 3 (2016): 229–56. http://dx.doi.org/10.1163/18765610-02303009.

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Interest in Chinese art has swelled in the United States in recent years. In 2015, the collection of the late dealer-collector Robert Hatfield Ellsworth fetched no less than $134 million at auction (much of it from Mainland Chinese buyers), while the Metropolitan Museum of Art drew over 800,000 visitors to its galleries for the blockbuster show “China: Through the Looking Glass”—the fifth most-visited exhibition in the museum’s 130-year history. The roots of this interest in Chinese art reach back to the first two decades of the 20th Century and are grounded in the geopolitical questions of th
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33

Springer, Lena. "Collectors, Producers, and Circulators of Tibetan and Chinese Medicines in Sichuan Province." Asian Medicine 10, no. 1-2 (2015): 177–220. http://dx.doi.org/10.1163/15734218-12341357.

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The act of prescribing pharmaceutical drugs to patients is normally the site of judgements about the drug’s efficacy and safety. The success of treatments and the licences for commodities depend on the biochemical identity of the drugs and of their path and transformations inside the body. However, the ‘supply chain’ outside the body is eschewed by such discourse, and its importance for both pharmaceutical brands and physician-centred historiographies is ignored. As this ethnographic fieldwork on Tibetan and Chinese medicines in Sichuan shows, overlooked social actors ensure reliable knowledge
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34

Sá, Luiz Fernando Ferreira. "Vita brevis, ars longa." Revista da Anpoll 54, no. 1 (2023): e1860. http://dx.doi.org/10.18309/ranpoll.v54i1.1860.

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The article deals with collecting in Utz (1989), by Bruce Chatwin. I read the fascination with collectors and collecting in the novel from and across two theoretical questions: (1) can objects enfold both a material status and an intangible effect as well as create an alternate narrative that would draw us away from commodification, objectification, and pathology? and (2) can the object confront us more with remnants of human life, with fragments of the representation of desire, and less with the residue of human labor? Kaspar Utz is a great collector of Meissen porcelain who the adverse event
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35

Ying-Ling Huang, Michelle. "Introducing the art of modern China: trends in exhibiting modern Chinese painting in Britain, c.1930–1980." Journal of the History of Collections 31, no. 2 (2018): 383–401. http://dx.doi.org/10.1093/jhc/fhy017.

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Abstract By 1930, the British public took a stronger interest in early Chinese art than in works produced in the pre-modern and modern periods. However, China’s cultural diplomacy in Britain during war-time, as well as the interactions between collectors, scholars and artists of both countries, helped refresh Occidental understanding of the tradition and recent achievements of Chinese art. This article examines the ways in which modern Chinese painting was perceived, collected and displayed in Britain from 1930 to 1980 – the formative period for the collecting and connoisseurship of modern Chi
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36

Ma, Yingling. "The Auction Status of East Asian Artworks in Modern America." Journal of Literature and Arts Research 2, no. 1 (2025): 10–17. https://doi.org/10.71222/dsab2h84.

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This paper examines the evolution of auction activities related to East Asian artworks in the United States from the mid-to-late 1930s, with a particular focus on the transformation of auction catalogs from simple listings to systematic classifications. By analyzing auction catalogs from 1890 to 1940, this study explores the market dynamics and status of Chinese ceramics—particularly Song dynasty ceramics—Japanese ukiyo-e, and Korean Goryeo celadon. Notably, the increased recognition of Goryeo celadon in the American market, influenced by Japanese procurement activities in 1909, reflects shift
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37

Shkolna, Olha. "European Porcelain and Faience: Egg Poachers and Coddlers." Bulletin of KNUKiM. Series in Arts, no. 45 (December 17, 2021): 46–53. https://doi.org/10.31866/2410-1176.45.2021.247342.

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The main purpose of the article is to outline the specific features of egg cups, made in porcelain and faience, in the French and English traditions common in Ukraine. The research methodology includes the principle of comprehensiveness, art studies and culturological approaches, the main principles of the research are based on ontological, axiological, hermeneutical, typological methods and the method of art studies analysis. The scientific novelty consists in comparing the design and function of these items, clarifying the data on their production by the leading European factories. Conclusio
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38

Yuan, Xiaojie. "The Impact of Uli Sigg and CCAA on Chinese Contemporary Art International Development." Communications in Humanities Research 9, no. 1 (2023): 246–52. http://dx.doi.org/10.54254/2753-7064/9/20231192.

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This paper provides an overview of the development of contemporary Chinese art, highlighting important milestones such as the 798 Art Zone and the 85 New Wave Movement and examining the impact of globalization on the Chinese art scene. Next, the paper explores the personal background and collection philosophy of Uli Sigg, a prominent art collector who has played a significant role in the development of contemporary Chinese art. Siggs involvement in the establishment of the Chinese Contemporary Art Award (CCAA) and his role in connecting foreign capital with Chinese artists are discussed. Addit
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39

Ngan, Quincy. "Collecting Azurite Blue and Malachite Green as Curios and Medicines in Late Imperial China." Ming Qing Yanjiu 24, no. 1 (2020): 67–102. http://dx.doi.org/10.1163/24684791-12340043.

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Abstract For over a millennium, stone collecting and connoisseurship were major pastimes among Chinese scholars. While existing scholarship has shed light on historical rocks, collectors, and related treatises, few studies have focused on azurite and its connatural counterpart, malachite—two of the most luxurious and versatile minerals in traditional China. Composed of crystalline and matte granules of copper carbonate, and mottled with the colours of clear sky and verdant foliage, azurite and malachite are precious minerals that have rivalled the unique status of jade in their odd shapes and
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40

Zeng, Da, Ruihan Shuai, and Jialin Mo. "Mapping and Taking Academic Turns in Collection History Studies: Reflections on the Issues of the Journal of the History of Collections." Arts & Communication 1, no. 1 (2023): 359. http://dx.doi.org/10.36922/ac.359.

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This paper translates and collates the contents of all the issues published by the Journal of the History of Collections, one of Oxford University Press Academic Journals, since its inception in 1989. It presents a detailed analysis of changes of article topics or themes in the Journal, based on which this paper demonstrates that the focus of research in this field has undergone three shifts on a decennial basis. By examining collectors’ social identities, motives for collecting, and changes in collection categories, this paper provides important insights into a theoretical framework that sust
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41

Simsek Franci, Gulsu. "Handheld X-ray Fluorescence (XRF) Versus Wavelength Dispersive XRF: Characterization of Chinese Blue-and-White Porcelain Sherds Using Handheld and Laboratory-Type XRF Instruments." Applied Spectroscopy 74, no. 3 (2019): 314–22. http://dx.doi.org/10.1177/0003702819890645.

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Almost all archaeometric studies on Chinese ceramics are carried out on the excavation materials. Therefore, a detailed, comparable database that defines different workshops and production periods already exists. But the masterpieces preserved at museums, art galleries, and/or private collections, which are artistically considered as genuine artifacts, also require similar scientific investigations to define their provenance and authenticity. The research on artworks is only possible with the use of portable, noninvasive techniques that are developing daily concerning their capability of detec
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42

Fei, Liu, and Prathabjai Suwanthada. "The inheritance of Tang Sancai pottery figurines in Luoyang: The integration of traditional handicrafts and the regional cultural background of social transformation." Edelweiss Applied Science and Technology 8, no. 6 (2024): 6644–62. https://doi.org/10.55214/25768484.v8i6.3416.

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Creative Documentary Research Data Methodology for mixing the Qualitative Research Methods and collecting research data through surveys, interviews, observations, group discussions and seminars, literature analysis, and field research.to let the educational audience understand and learn the historical background and aesthetic knowledge of Tang Sancai Pottery Figurines. Sancai is a versatile decoration on Chinese pottery and other painted pieces using glazes or slip, predominantly in the three colors of brown (or amber), green, and creamy off-white. Tang Sancai Pottery Figurines is three-colore
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43

Shi, Yuanxie. "A China Carved and Collected: Ningbo Whitewood Figurines in the Long Twentieth Century." Journal of Chinese History 3, no. 2 (2019): 381–407. http://dx.doi.org/10.1017/jch.2019.9.

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AbstractHow is the craft history of ordinary woodcarvers different from the political and economic history of elites and literati? This article tells a transnational history of Ningbo miniature whitewood figurines that were first collected by Western travelers as souvenirs from the 1870s to 1940s and then shipped to the West as export craft from the 1950s to 1980s. The examination of the makers, buyers, and collectors of these figurines reveals a dialectic process between carving and collecting. Focusing on both the making and circulation of these figurines, the article uncovers a new layer in
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44

Zhang, Daile, and Ronald L. Holle. "Lightning Casualties of Vulnerable Caterpillar Fungus Collectors on the Qinghai–Tibetan Plateau." Weather, Climate, and Society 16, no. 4 (2024): 611–20. http://dx.doi.org/10.1175/wcas-d-23-0117.1.

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Abstract Lightning has killed and injured many people in recent years in the Qinghai–Tibetan Plateau area of China when they were collecting a rare product used for medical applications. The fungus that grows on dead caterpillars at high altitudes in this region demands a high price when sold, so it attracts collectors that unfortunately become at risk from lightning during this process. A total of 12 lightning-related events during 2004–22 resulted in 29 deaths and 53 injuries. All cases occurred at high elevations in rugged terrain with no available lightning-safe structures or vehicles. The
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45

Herren, Madeleine. "“Very old Chinese bells, a large number of which were melted down”." Global Europe – Basel Papers on Europe in a Global Perspective, no. 120 (August 3, 2021): 37–54. http://dx.doi.org/10.24437/globaleurope.i120.455.

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In the second half of the 19th century, Buddhist bells from Japan began to arrive in Switzerland. The fact that these were objects listed in the so-called ethnographic collections is not surprising and the history of collecting has been a subject of postcolonial research. However, remarkably, the travel route of these bells, some of which weighed over a ton, could not be documented. Until now, the way how the bells were imported into Switzerland as unknown, and the problem of their provenance unsolved. This article argues that a global history approach provides new insights in two respects: Th
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Kagouridi, Kassiani. "Vienna-Paris-Corfu: Japonisme and Gregorios Manos (1851–1928)." Journal of Japonisme 5, no. 2 (2020): 152–79. http://dx.doi.org/10.1163/24054992-00052p02.

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Abstract The present study defines the connection between Japonisme and the Greek diplomat and donor-collector Gregorios Manos (1851–1928). Manos collected Japanese pieces during the reign of Japonisme in Europe, was a pioneer of the study of Japanese art in Greece, and the first donor of Chinese and Japanese artifacts to the Greek State in 1919. The donation resulted in the foundation, in 1926, of the Sino-Japanese Museum (renamed in Museum of Asian Art in 1973) in Corfu. The present research is based on primary and secondary sources and seeks to present unpublished data as well as re-examine
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47

Minglu, Yang, Ahmad Albattat, and Norhidayah Azman. "Investigate the Impact of the Current Watercolour Painting Market Situation on the Development of the Watercolour Painting Market in China. Market Environment as a Mediator." International Journal of Professional Business Review 8, no. 8 (2023): e02992. http://dx.doi.org/10.26668/businessreview/2023.v8i8.2992.

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Purpose: The purpose of this study is to investigate the impact of the current watercolour painting market situation in China on the development of the watercolour painting market in China. In addition, this study investigates the role of the watercolour painting market environment in China as a moderating variable in the relationship between the current state of the watercolour painting market in China and its future development. Theoretical framework: Contemporary Chinese art and culture exist in a society that is open and pluralistic. Through the efforts of several generations, they have cr
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48

Субакожоева, Ч. Т. "The History of Collecting and Writing down the Manas Epos." Вестник Рязанского государственного университета имени С.А. Есенина, no. 4(69) (February 16, 2021): 131–37. http://dx.doi.org/10.37724/rsu.2020.69.4.013.

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В киргизском фольклоре эпический жанр получил значительное развитие. Среди многочисленных сказок, песен, малых эпосов особое место занимает эпос «Манас». Эпос «Манас», принадлежащий творению киргизского народа, нашел свое бытование как в Киргизской Республике, так и в Китайской Народной Республике, где проживают этнические киргизы. Собирание и запись текстов «Манаса»ввиду его многовариантности и огромных размеров представляло большую научную проблему. В его собирании, публикации и исследовании приняли самое активное участие лучшие представители русской академической науки второй половины ХIХ —
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49

Tataurov, S. F., and S. S. Tikhonov. "‘Polish-Lithuanian’ archaeological materials from the excavations of the town of Tara." VESTNIK ARHEOLOGII, ANTROPOLOGII I ETNOGRAFII, no. 2(53) (May 28, 2021): 83–90. http://dx.doi.org/10.20874/2071-0437-2021-53-2-7.

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In this article, the authors analyse materials from the excavations of the Tara fortress (Omsk Region, Wes-tern Siberia), founded in 1594 by Prince Andrei Yeletsky and functioned as the main outpost of the Russians in the Middle Irtysh region to counter Khan Kuchum, the Kuchumovichs, and then the newly-arrived population from Dzungaria and Kazakhstan, until construction of the Omsk fortress in 1716. The aim of this research is to identify amongst the finds the articles of Polish-Lithuanian origin, in outward appearance similar to Russian ones. Having studied the collections formed during the e
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Standaert, Nicolas. "Distribution of Sino-European Intercultural Texts in Chinese Private Libraries of the Late Ming and the Early to Mid-Qing Periods (1582–c.1823)." East Asian Publishing and Society 12, no. 2 (2022): 192–261. http://dx.doi.org/10.1163/22106286-12341368.

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Abstract This article focusses on the distribution of Sino-European books in the broad scholarly world: how did these books that are intercultural regarding authorship, content, and material aspect, reach their potential readers? And how widely were these books distributed? It investigates the extent to which these books were included in private libraries from the late Ming until the mid-Qing (1582–c.1823). Book printing had become very efficient in the second half of the sixteenth century and collecting books, both in printed and manuscript form, had become one of the favourite hobbies of (re
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