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59 th
E. Belfrage, “Chinese Watercolours from the 18 Century Illustrating Porcelain
Manufacture,” in Association internationale de bibliophilie, ed., International Association
of Bibliophiles XVth Congress, Copenhagen, 20-26 September 1987: transactions
(Copenhagen: Danish National Library of Science and Medicine, 1992).

60
Edward Said commented on this in Orientalism (New York: Penguin Books, 1978) and
the relationship between the self, temporality and historical knowledge is also explored in
Prasenjit Duara’s work on nationalism.

61
The National Palace Museum in Taipei holds the set of paintings of this album,
Jingdezhen taotuji ݂೥ (guhua) #3650. I have attempted to spend more time with this set,
including its binding and material nature, however, it is not available for study or viewing
due to its poor condition and the complex process of application to study specific objects
in the National Palace Museum objects. I am grateful to the Professor Pickowicz for
making possible the access to the digital images I bought in order to engage in the study I
have so far of this album. The dating to the second quarter of the nineteenth century
(Jiaqing reign) is explained in Tan Danjiong ᗈ͇ᠳ, "Taoye tongshi,” ௗзஷᙑ
[General Summary on Taoye] Gugong jikan ݂ࢗ֙̊ 5:1 (1970): 17-41.

62 Wang Guangyao ˮΈగ, Zhongguo gudai guanyao zhidu ʕ਷̚˾֜ᇉՓܓ
[Administration of the Imperial Kilns in China] (Beijing: Zijincheng, 2004); Li Yong,
“Cong Qing Jiaqing fencai yaogong zhici tu ping kan Jingdezhen zhici gongyi,” ੽૶ྗ
ᅅᇉʈႡନྡଧ޶౻ᅃᕄႡନʈᖵ [Understanding Jingdezhen porcelain production
technique from examining production images on Qing Jiaqing vases] Wenwu jikan ˖ي
֙̊ 1 (1999): 92-95.

63 Craig Clunas, Superfluous Things (London: Blackwell 1991) and Pictures and
Visuality in Early Modern China (Princeton: Princeton University Press, 1997), 15.