Page 247 - Jindezhen Porcelain Production of the 19th C. by Ellen Huang, Univ. San Diego 2008

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6
Ironically this period saw an increase in multicolored porcelain decoration, perceived at
the time as vulgar by the supporters of the earthy Arts and Crafts Movement in England
and America.

7 Jingdezhen taoci shigao ౻ᅃᕄௗନ̦ᇃ [Draft History of Jingdezhen], ed., Jiangxi
Light Industry Department, Ceramics Institute (Beijing: Sanlian shudian, 1959), 220;
Xiang Zhuo, Jingdezhen taoye jishi౻ᅃᕄௗุাԫ [Records of the Porcelain Industry
at Jingdezhen] (1920), in Nanjing shi geye gaikuang diaochaیԯ̹΢ุ฿رሜݟ
[Nanjing city survey of industries] (Nanjing: Shoudu gejie tichang guohuo weiyuanhui
diaochazu, 1935), 52. See the Qing government memorial, “Concerning the establishment
of the Jiangxi porcelain company,” ක፬ϪГନኜʮ̡ұ Guangxu 29th year (1904), 5th
month, 24th day, in Xiong Liao ဤྻ and Xiong Weiဤฆ, comps., Zhongguo taoci guji
jicheng ʕ国ௗନ̚ᘬණϓ [Annotated collection of historical documents on ancient
Chinese ceramics] (Shanghai: Shanghai wenhua chubanshe, 2006), 133.

8
Stanley Wright, Kiangsi Native trade and Its Taxation (New York: Garland Press, 1980
[Shanghai, 1920]), 185; Albert Feuerwerker, China's Early Industrialization (Cambridge:
Harvard University Press, 1958).

9 Chen Liu, Doubei tang ji. The complete disclaimer uttered by the author was: “My old
mother, all my brothers, concubines, wives, sons, daughters, none of them do not like to
drink.” His maturity in years can be inferred by his three separate prefaces to Tao Ya
which contain lamentations about his old age.

10 Tao Ya, Original First Preface.

11
Tao Jirenௗᔟɛ, “Jin ershi nian Zhongguo ciqi shi yanjiu shouhuo shuping,” ڐɚɤ
ϋʕ਷ନኜ̦޼Ӻϗᔛࠑ൙ [Review of the scholarship on Chinese ceramics from the
past twenty years] Zhongguo Taociʕ਷ௗନ11 (1982): 16.

12 Zhu Deyi was a stele researcher of the late Qing and early Republican periods. He
belonged to the Zhejiang school of seal carving, which enjoyed a period of unprecedented
popularity in the nineteenth and twentieth centuries. The style of their seals purposely
imitated Qin and Han dynasty seal scripts. Zhu Deyi, whose zi was Songchuang ؒ೿
and whose hao was Litang ᓿੀ (his alternative name was Hanweiဏ۾), was from
Yuhang near Hangzhou. For an overview and examples of the seal scripts of the
Zhejiang school, see R. H. van Gulik, Chinese Pictorial Art (Rome: I. S. M. E. O., 1958).
Zhu’s written studies included Zhuren luxu ϶ɛ፽ᚃ [Biographical Record of Bamboo
Carvers, Cont.] (Shanghai: n.p., 1930).