Page 251 - Jindezhen Porcelain Production of the 19th C. by Ellen Huang, Univ. San Diego 2008
P. 251
234
52
Needham and Kerr, Ceramic Technology, 30-31; Wu Renjing, Zhongguo taocishi
(2006 [1936]), 71; Guo Baochang, Ciqi gaishuo.
53 Only one book refutes the idea by raising myriad examples of court productions of
th
Jingdezhen porcelain in the 19 century: Gunhild Avitabile, From the Dragon’s Treasure:
th
th
Chinese Porcelain from the 19 and 20 centuries in the Weishaupt Collection (London:
Bamboo Publishing, 1987).
54 Peter Osborne’s description is that modernity is a time period when people are
conscious of the new and that it aware of the epoch’s “contemporaneity.” See Peter
Osborne’s “Modernity is a Qualitative, not Chronological Category.”
55 In addition to the theme of belatedness and “not-yet,” the other prominent theme related
to modernity is the discourse of the lack. Marilyn Ivy, Discourses of the Vanishing:
Modernity, Phantasm, Japan (Chicago: University of Chicago Press, 1995); Dipesh
Chakrabarty, Provincializing Europe: Postcolonial Thought and Historical Difference
(Princeton, NJ: Princeton University Press, 2000).
56 Jonathan Hay, “The Diachronics of Early Qing Visual and Material Culture,” in The
Qing Formation in World-Historical Time (Cambridge, MA: Harvard University Press,
2004), 316-320. The 1620-1680 period is referred to by ceramic historians as the
“transitional era” and the research is based on trade wares now extant in Japan and
elsewhere. See Julia B. Curtis, Chinese Porcelains of the Seventeenth Century:
Landscapes, Scholar’s Motifs, and Narratives (New York: China Institute Gallery,
University of Washington Press, 1995) and Stephen Little, Chinese Ceramics of the
Transitional Period, 1620-1683 (New York: China House Gallery, 1983). For new forms
of porcelain technique and artistry in the nineteenth century, see Tony Miller and
th
Humphrey Hui, Elegance in Relief: Carved Porcelain from Jingdezhen of the 19 and
th
Early 20 Centuries (Hong Kong: Chinese University of Hong Kong, 2006); Urban
th
Council, Brush and Clay: Chinese Porcelain of the Early 20 Century (Hong Kong:
Hong Kong Museum of Art, 1990); Geng Baochang অᘒand Qin Xilinॢ፼, eds.,
Zhu Shan Bayou मʆɞʾ [Eight Friends of Mt. Zhu] (Nanchang : Jiangxi meishu
chubanshe, 2004).
57
See definition for “qianjiang shanshui ചʆ˥,” in Zhongguo meishu cidian ʕߕ
ஔᗘՊ [Dictionary of Chinese Art] (Taipei: Hsiungshih tushu, 2001), 68.
58 Jingdezhen taoci shigao (1959), 315; Brush and Clay (1990), 85-87.
59 Brush and Clay (1990), 90-91. See also Zeng Meifangಀߕٹ Jingdezhen caici
sanbainian: Nanchang Zeng shi suocang Jingdezhen shiqi zhi ershi shiji caihui ciqi౻ᅃ
ᕄନɧϵϋ یಀˤהᔛ౻ᅃᕄɤɖЇɚɤ˰ߏᖭନኜ [Ms. Zeng’s Collection
