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.
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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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