Page 189 - Ming_China_Courts_and_Contacts_1400_1450 Craig lunas

Plate 20.1 A print of the Porcelain Pagoda (and detail), one of a series made in Nanjing by Thomas Allom in the late 1830s or early 1840s
(after Allom 1858–9, facing p. 162, first published 1843)

from the 17th century and later, in short narratives by has emerged from excavations since the 1950s. The
European visitors, particularly in the 1840s after the Treaty challenge is to identify pieces which can be ascribed to the
of Nanjing, and in sketches by both Chinese and European pagoda itself, rather than to the temple site generally, or to
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travellers. The pagoda was finally reduced to rubble in 1856, other contemporary sites in imperial Nanjing. Not unique to
having been laboriously dismantled over two years by the the Da Baoen Monastery Pagoda, but frequently occurring
Taiping rebels to deny its use as a vantage point for besieging in early Ming imperial sites in Nanjing are glazed ceramic
government troops. materials of exceptional quality and finish.
Though descriptions differ in matters of detail (especially The pagoda earned its unique fame, and indeed its
concerning colours and ornament) they and surviving colloquial name, Liuli ta 琉璃塔 (the ‘Glazed Pagoda’ or the
sketches agree on the main features. The pagoda was ‘Porcelain Pagoda’ to European travellers) from its white
octagonal with a recorded height equivalent to 102m glazework cladding. It was a continuous light show,
including its cha-post (steeple), and a brickwork height of glistening in sunlight and brilliantly lit by capiz-shell
between 80 and 90m. It was one of the tallest buildings in lanterns at night. Accounts also mention other colours;
the nation at the time, having nine storeys with that at green, red and yellow on the roofs defining each storey and
ground level sheltered by an encircling ambulatory. green balustrades. Thomas Allom’s account mentions on
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Sketches suggest that the structure had only a modest each storey ‘open doorways…..their arches elegantly turned
architectural batter (taper), with the illusion of height given with glazed tiles …… in all variation of colour, representing
mainly by progressive diminution of detailing on successive deities, demons and monsters…’ .
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higher storeys. Each storey was defined by a shallow tiled Supporting these descriptions were significant finds made in
roof, supported by either faux timber brackets or corbelling excavations during 1958–9 at the village of Yunhuatai 蕓花臺
(sketches differ) and hung (we are told) with bells at the eaves at Mount Jubao 聚寶山, about 1.5km southwest from the
corners and lit after dark by oil lamps in niches. At each pagoda site. Some 73 official kilns are recorded to have been
level, four decorated arched openings led onto a balustrade. set up in the early Ming to assist the construction of the new
The structure was surmounted by a finial bearing a precious imperial capital, and Mount Jubao was evidently an
vessel and nine discs, this assembly stabilised (in important part of this system, having several cross-draft
conventional fashion) by chains anchored to the eaves kilns. Prominent amongst the finds were large architectural
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corners of the main roof. components in polychrome stoneware. These parts were
Fragments of the pagoda have entered collections outside unused and unblemished and many were components of
China since the 1870s, and new material stored in Nanjing arched openings shaped as lobed and cusped ogees of

The Porcelain Pagoda: A Persisting Enigma | 179