Page 144 - Jindezhen Porcelain Production of the 19th C. by Ellen Huang, Univ. San Diego 2008

127

Exhibition of Chinese Art in London at the Burlington House in 1935. A.W. Brankston’s
Early Ming Wares of Chingtechen (London, Hong Kong: Henri Vetch, 1970 [1938]).

48 The William and Henry Walters collection of porcelain was the first significant
American based collection of porcelain, excluding ‘export’ ware collections assembled
through the China trade. It formed the basis of the Walters Art Museum, still open today
in Baltimore, MD. Walters clearly wanted his collection to be showcased in such a book
of monumental narrative and was the one to approached Bushell offering his collection to
be the pieces illustrated. The 116 plates were 60 x 25 cm dispersed among 10 volumes in
5 portfolios. See William Johnston, William and Henry Walters: The Reticent Collectors
(Baltimore, Md.: Johns Hopkins University Press in association with the Walters Art
Gallery, 1999). I am thankful to Curator Rob Mintz and Bill Johnston for giving me last
minute access to the lithographic prints, watercolors, and ceramic objects that make up
the Walters collection and for spending the time to explain what they know of the history
of the Walters collection porcelain and book. See New York Times, November 20, 1909
for information about William M. Laffan.

49
Julien was the surname of the French scholar who had previously translated the
Jingdezhen Tao lu into French and will be explained below.

50
Bushell, Oriental Ceramic Art (New York: Crown Publishers, 1981 [D. Appleton and
st
Co., 1 ed., 1896]), Preface and 111.

51 See where Bushell discusses vases produced during the Yongzheng Emperor’s reign
period, Bushell, Oriental Ceramic Art (New York, 1981 [1896]), 191. Bushell also refers
to the Jingdezhen Tao lu on page 260 in his chapter entitled “Peculiar Technical
Processes,” where he explains the method of creating crackled glazes. Again Bushell
quotes the Tao lu when giving an overview on porcelain centers outside of Jingdezhen on
pages 316 and 317. I note that the quotations and references to Chinese language texts on
porcelain in Bushell’s seminal study are never footnoted but only referred to by title in
the text if at all explicitly credited as Bushell’s source.

52
Stephen W. Bushell and Dai Yue, trans., Zhongguo meishu ʕ਷ߕஔ [Chinese Art]
st
(Shanghai: Shangwu yinshu guan, 1923 1 ed.). For the art research institutes
publications that relied on Bushell’s work: Jiang Siqing Ϫܠ૶, Jingdezhen ciye shi ౻
ᅃᕄନุ̦ [History of the Porcelain Industry in Jingdezhen] (Shanghai: Zhonghua
shuju, 1936); Wu Renjing, Zhongguo taocishiʕ਷ௗନ̦ [History of Chinese Ceramics]
(Shanghai: Shangwu yinshuguan, 1936); S.J. Vainker, Chinese Pottery and Porcelain:
From Prehistory to the Present (London: British Museum Press, 1991); Jiangxi Light
Industry Department, Ceramics Institute, ed., Jingdezhen taoci shigao ౻ᅃᕄௗନ̦ᇃ
[Draft History of Jingdezhen] (Beijing: Sanlian shudian chuban, 1959); Chen Liu [Ji
Yuansou] ௓ᓭ, Tao Ya ௗඩ [Ceramic Elegances] (1910), in Zhongguo gudai taoci