Page 196 - A Re-examination of Late Qing Dynasty Porcelain, 1850-1920 THESIS
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porcelain. The popularity of this exhibition prompted the purchase of many of these
objects, leading to several museums in Europe adding to their own collections. China’s
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involvement in exhibitions during the late 19 century connects to the timeline of the
empress dowager attempting to utilize artistic patronage to promote a Westernized and
modern China. Many of the empress dowager’s interactions with the West resulted from
this artistic exchange, making her one of the most globally influential patrons of Chinese
porcelain.
During the 1870s and 1880s, China actively participated in both small and large
exhibitions worldwide. While art of a wide variety was exhibited, it was not until
London’s International Exhibition of Chinese Art in 1935 and 1936 that an exhibition
included a wide array of Chinese ceramics. 251 China had the unique role of actually
deciding which wares would be sent to the exhibition, and therefore they determined that
these wares had to possess superb form, artistic drawing, and glaze color. It seems that
even though Western collectors felt they were viewing an exhibition cultivated by
Western collectors, a great deal of what was displayed was controlled, and therefore
influenced, by China. This occurrence perhaps emphasizes some of the subtle influences
of the Chinese connoisseur on the Western market. Therefore, imperial rulers like the
empress dowager and Yuan Shikai actively shaped not only the wares produced in China,
but those viewed by the West. The relationship cultivated between these patrons and
porcelain shaped the way the West encountered and understood porcelain.
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By the 19 century, the market for Chinese porcelain had expanded even further.
Sales had transitioned from being predominantly export industries reliant on global
251 Honey, The Ceramic Art of China and Other Countries of the Far East, 3. The ceramics in the
exhibition were predominately porcelain dating to the Ming dynasty.
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