Page 193 - Jindezhen Porcelain Production of the 19th C. by Ellen Huang, Univ. San Diego 2008
P. 193
176
14 Yu Peichin, “Pinjian zhi qu: shiba shiji de taoci tuce jiqi xiangguan wenti,” ۜᛠʘሳ:
ɤɞ˰ߏٙௗନྡ册ʿՉᗫਪᕚ [Eighteenth century ceramic manuals and related
problems] Gugong xueshu jikan ݂ኪஔ֙̊ 22:2 (Winter, 2004): 133-166; and also
Shane McCausland, “The Emperor’s Old Toys: Rethinking the Yongzheng Scroll of
Antiquities,” Transactions of the Oriental Ceramic Society 66 (2000-2001): 65-74.
15
These are accession numbers guci ݂ନ #13898 and 13900, 13899 and 13901 at the
National Palace Museum.
16
The fourth album, Fangong zhangse ⮸̌࿎Ѝ, also bears the imperial seal of the
Jiaqing emperor.
17 Yu Peichin, “Pinjian zhi qu: shiba shiji de taoci tuce jiqi xiangguan wenti,” 151.
18 The Neiwufu zaobanchu huoji dang have special sections on these display accessories
and their construction. See for instance the Imperial Household Production archives:
st
Qianlong 1 yr. One of the items enumerated bears the subsection title: The Guang
wooden stand workshop (Guangmu zuoᄿ˝Ъ). The Guang woodstand workshop was
ordered to construct a sandalwood stand decorated with ivory inlay for the display of
blue-and-white tall gourd shaped porcelain bottles that were sent from Jingdezhen. Also
nd
see Qianlong 52 yr., where the item records the order from the lacquering workshop to
produce a woodstand for a large celadon water jar. Feng Xianming, ඹთed.,
Zhongguo gutaociwenxian jishiʕ̚ௗନ˖ᘠණᙑ [Annotated collection of historical
documents on ancient Chinese ceramics] (Hong Kong: Yishujia chuban she, 2000), 227,
253.
19 See Cao Zhao, Gegu yaolun (1387), quoted in Yu Peichin, “Pinjian zhi qu: shiba shiji
de taoci tuce jiqi xiangguan wenti,” 143.
20
Gao Lian was an educated writer and dramatist from Hangzhou and was active in the
second half of the 1500s. His text belongs to the category of literature on material culture
analyzed in all of Craig Clunas’ scholarly work. Zunsheng bajian contains no pictures or
illustrations of the material objects at the center of its discussions and was written in the
1590s.
21 By comprehensive and developmental historical narrative I mean the history in the
modern linear sense whereby an objects’ development is bounded by a national
framework and its progressive development is assumed.
22
Yu Peichin, “Pinjian zhi qu: shiba shiji de taoci tuce jiqi xiangguan wenti,” 160 and
141, and Figure 14.
