Page 162 - A Re-examination of Late Qing Dynasty Porcelain, 1850-1920 THESIS
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each piece as Chinese collectors did.  This highlights a major difference between the

                   collecting of porcelain in the Western and Eastern worlds.  Early British collectors did


                   not attempt to cultivate themselves as collectors and approached collection as a means of

                   materialism, appropriating the objects for themselves and imposing their own values on


                   them.  Fascination with the East was embodied by a sense of mystery for the Western

                   collector, and it is possible that this orientalism heightened the desire for an individual to


                   “own” a small piece of this foreign culture.  In this regard, ownership of the actual object

                   may have represented a sense of dominance over China itself.


                                        th
                          By the late 17  century, competition to produce porcelain was widespread.
                   Despite competitors attempting to recreate these Chinese wares, these European


                   counterparts were not always successful in recreating the same forms, shapes, and

                   designs found on Chinese porcelains.  Chinese porcelains utilized imagery of landscapes,

                   birds and flowers, fruit, mythical animals, real animals, figures, narrative tales, and


                   religious imagery.  The British market found many of these designs appealing due to the

                   allure generated by the far-off East.  Trading companies also offered British buyers the


                   ability to custom-order specific patterns, making it possible for Western imagery to be

                   brought to a kiln and painted directly on a piece of porcelain.  These custom orders led to


                   the popularity of distinct armorial wares that were customized for individuals.  Although

                   some might view this situation as active competition, it actually succeeded in sparking a


                   dialogue between the East and West, since individuals exchanged imagery in order to

                   achieve the specific porcelain they desired from the kilns in China.  Cultural exchange


                   within porcelain design is exemplified by corresponding drawings and porcelain that

                   survive in museum collections.  Plate with a Lady with a Parasol is a design that was



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