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process in Jingdezhen during the Jiaqing and Daoguang periods. See the introduction to
the exhibition catalogue for developments of other artistic genres of Jingdezhen porcelain
aside from imperial use porcelain in the post in Tony Miller and Humphrey Hui,
Elegance in Relief: Carved Porcelain from Jingdezhen of the 19th to early 20th Centuries
(Hong Kong: Chinese University of Hong Kong, 2006).

82
See Zheng Tinggui, Taoyang zhuzhici, in ed., Mian Lian (2004), 279.

83 I am grateful to Dorothy Ko for reminding me that “local” is also ambiguous and is
aconcept also deployed and constructed in specific historical contexts.

84
Zheng Tinggui, Taoyang zhuzhici, ed., Mian Lian (2004), poem 12, 281.

85 See discussion of the specific local and Jingdezhen qualities of porcelain composition
and production process in Jingdezhen Tao lu, juan 4, 8, 9. For the identification of
Jingdezhen porcelain history as an object of imperial use, refer to Jingdezhen Tao lu, juan
10, 274.

86 Jonathan Spence has studied over forty years ago the institution of bondservants set up
by the Qing emperors. The banner system was an integral part of Manchu political and
social administration, carried over since its inception in 1601 and through the entire. It
was a status by hereditary succession and bannermen and their families lived within the
banner garrisons, being allotted lavish plots of land and food from the land. Chinese
bannermen who became bondservants descended from a long line of Chinese bannermen
thus engaged in capture before 1631 when Chinese banners came into their own existence
institutionally. The bannermen who became bondservants to the prince or emperors often
assumed exceptional, personal, lucrative tasks that had in other dynasties been part of the
́
eunuchs’ duties. Jonathan Spence, Tsao Yin and the Kang-Hsi Emperor: Bondservant
́
and Master (New Haven: Yale University Press, 1966), Introduction.

87
Arthur Hummel, Eminient Chinese of the Ch’ing Period (Washington: U.S. Govt. Print,
1943), 587-590 for biographical information about Nian Xiyao’s family and career.

88
Tang Ying's annotations for Taoye tu (The Twenty Illustrations of the Manufacture of
Porcelain) are translated with comments by S. W. Bushell, in his Chinese Pottery and
Porcelain (London: Clarendon Press, 1910); they are also reprinted together with historical
prints and contemporary photographs of Jingdezhen porcelain-making in Robert Tichane,
Ching-te-chen: Views of a Porcelain City (New York: New York State Institute for Glaze
Research, Painted Post, 1983), 131-70. A more comprehensive discussion regarding the
whereabouts of certain albums of paintings depicting porcelain manufacture is the focus
of the next chapter of the dissertation. The set used as the basis for Tang Ying’s
annotations are in a private collection in Taiwan. I have not seen the painting album in
person.