Page 23 - Jindezhen Porcelain Production of the 19th C. by Ellen Huang, Univ. San Diego 2008
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                       one of the most important specialists on porcelain in the late Qing dynasty and first half

                       the twentieth century, worked.  Through the forum of the exhibitions, Guo’s essay, “Brief


                       Description of Porcelain” (Ciqi gaishuo), was translated, printed in exhibition catalogues,

                       sent to English collectors and educators, and used by twentieth century specialists in art


                       history to write about Chinese ceramics.  There was also the practical fact that Guo was

                       responsible for the selection of porcelain objects sent from Beijing to be displayed in the


                       various exhibition venues.  While the discursive framework surrounding the discussions

                       and representations of porcelain was certainly nation-centered, the event’s publicity


                       generated an unprecedented opportunity for the influence of Guo Baochang, whose views

                       and intentions combined imperial, national, and personal objectives to put forth a


                       narrative of porcelain history centered on falangcai enameled porcelain and the brilliant

                       imperial porcelain commissioners (dutaoguan).

                              Clearly, we know that the story ends with porcelain emerging as a national icon,


                       but it begins with a book published in the early nineteenth century.  The second chapter

                       of the dissertation moves backward in time to the beginning of our story in order to


                       consider the first specialized book on Jingdezhen ceramics, the Jingdezhen Tao lu.

                       Writing of the book began in the 1790s but its first publication occurred in 1815.  The


                       final form consisted of an important first chapter (juan) that included the woodblock

                       printed images portraying porcelain production, which also made the Jingdezhen Tao lu


                       the first illustrated manual on Jingdezhen porcelain.  The book’s nineteenth century

                       circulation history demonstrates that the history of its reception – and of porcelain’s


                       canonization – is unique.  The book was translated at the height of the western industrial

                       intrusion into Qing territory.  Both instances of its translation occurred in the middle of
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