Page 95 - Collecting and Displaying China's Summer Palace in the West
P. 95

80  Stacey Pierson
































              Figure 5.3 Glazed tile from the so-called “Porcelain Pagoda” (Da Bao’ensi 大報恩	), Nanjing.
                       Ming dynasty, c. 1412–1431. British Museum, 1923,0514.1. © Trustees of the
                       British Museum.



                The architectural fragments acquired at this time were initially transformed into
              a different type of object by their classification as collectibles and souvenirs in China,
              but they underwent a further transformation when they left China. In Britain,
              especially, they came to be classified by both private collectors and museums as
              “ceramics,” primarily because of their material nature. In the period after 1860, this
              would seem to make sense because there was, as yet, no well-defined category of
              objects known collectively as “Chinese art”—this would begin later in the century.
              Chinese objects were for the most part still exotic “curios,” if made of jade or ivory
              or enamelled metalwork, or they were simply “Oriental” but it can be argued that
              the Summer Palace provenance and its marketing helped to refine this category into
              “Chinese.” Interestingly, architectural fragments transcended this geographical elision
              because they could be separately classed as ceramics, a subject that was, as we have
              seen, already a well-established field of collecting in Britain by 1860, to the extent
              that it had its own survey literature. Thus, once defined as “ceramics,” these
              architectural fragments could be made sense of, they could be fitted into an existing
              rubric of things and given a place in the narrative of that field.
                Within the ceramics collecting field generally, there was specialization and normally
              divisions were made by geographical origin and type of body, such as “Porcelain—
              European,” “Pottery—Italy,” or “Porcelain—Oriental,” as presented by Marryat in
              1850, contributing to a refinement of location of origin. Commonly, the architec -
              tural fragments from China were classified as “pottery” and interestingly, by some
              specialists in “Oriental ceramics,” as specifically Chinese. The fact of their origins
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