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Figure 12. Left: Mark on bottom of porcelain carving by Wang Bingrong (1821-1850).
Right: Porcelain Brush Holder by Wang Bingrong. ................................................ 243
Figure 13. Chen Guozhi (1821-1660) mark and carved brushpot made in Jingdezhen.
............................................................................................................................... 243
Figure 14. Snuff bottle made of carved porcelain between 1821 and 1850 in imitation
of jadeite and landscape decoration. Jingdezhen. Mark: “Hu Wenxiang zuo.”......... 244
Figure 15. Wang Shaowei (active 1862-1908), dated 1885. porcelain plaque decorated
with qianjiang enamels........................................................................................... 245
Figure 16. Jin Pinqing (active 1862-1908) porcelain plaque painted in qianjiang
enamels. ................................................................................................................. 245
Figure 17. Wang Qi, dated 1927. Porcelain plaque decorated with fencai enamels.. 246
Figure 18. Pair of porcelain cups in fencai enamels with mark “Jiangxi Porcelain
Company” (1910-1930).......................................................................................... 246
Figure 19. Cover and title page of Stephen Bushell’s translation of the illustrated
catalogue, Lidai mingci tupu. Percival David Foundation of Chinese Art................ 247
Figure 20. Comparison of two translations of purported Ming dynasty collector’s
porcelain catalogue: text and accompanying watercolor illustration of Song Ding ware
porcelain.
Top: Stephen Bushell’s 1908 translation (Oxford: Clarendon Press, 1908).
Bottom: Guo Baochang and John C Ferguson, trans. Noted Porcelain of Successive
Dynasties (Beijing: Zhizhai shushe, 1929).............................................................. 248
Figure 21. Image of the annotation and translation process using un-illustrated Xiang
Yuanbian catalogue Lidai mingci tupu original. Percival David Foundation of Chinese
Art.......................................................................................................................... 249
Conclusion
Figure 1. Floor plan of permanent ceramics galleries. National Palace Museum
(Taipei) .................................................................................................................. 254
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