Page 25 - Jindezhen Porcelain Production of the 19th C. by Ellen Huang, Univ. San Diego 2008
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                       technique of production, they also showed how porcelain was an object portrayed as the

                       sum of its parts.  In this sense, Qianlong’s visual representations of porcelain were a part


                       of a larger mission to transmit an emperor-centric omniscience and ubiquity, also a

                       phenomenon exemplified by court art collecting and vigorous cataloguing efforts.


                       Similar aesthetic modes, reflected in export paintings and imperial albums, traveled the

                       global stage at roughly the same time but for very different purposes.  This chapter


                       presents an outline of this simultaneous global visual culture of porcelain.

                              The last chapter brings us to the end of the nineteenth century with an analysis of


                       the views of a late-Qing collector and official, Chen Liu.  His text on porcelain, Tao Ya,

                       was both an aesthetic and social commentary.  Over two-hundred pages long and written


                       in literary Chinese, Tao Ya was most influential for later studies focusing on the history

                       of porcelain in the Qing era, especially the reigns of the Kangxi, Yongzheng, and

                       Qianlong emperors.  Without any systematic organization, the author’s thoughts on


                       porcelain glazes, their appearance, the nature of porcelain bodies, foreign tastes,

                       international expositions, and instructions about identifying fakes form a hodgepodge of


                       notes and come together to form his tome on ceramics.  The chapter sifts through his

                       morass of opinions and observations in order to shed light on his social commentary,


                       which reveals an internationally informed porcelain appreciator.  His views revealed an

                       epistemological framework embedded in modern notions of time and focused on the


                       present and future possibilities of his society and porcelain.  While his subject matter

                       made him look like an antiquarian, Chen was not a man who wanted to remain in the


                       past.   I show how the actual conditions in which he lived enabled him to view and judge

                       porcelain, including the forced opening of imperial palace collections.  Ultimately, the
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