Page 70 - Jindezhen Porcelain Production of the 19th C. by Ellen Huang, Univ. San Diego 2008
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                                     ‘Tang Ying once said that when he became Jiujiang tax
                                     official, he regretted not being able to focus completely on
                                     ceramics, which is what production required.’ This
                                     statement enables us to know who Tang Ying was. Tang
                                     Ying was never able to write a systematic treatise on
                                     ceramics. Thus, the secrets of the wares from his time
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                                     period have been lost forever. What a true pity.

                       Guo Baochang linked a lifetime of service to the essential meaning of the ceramic

                       official’s life.  In Guo’s reasoning, the production of pottery was linked directly to


                       people’s efforts. He did not mention the handicraft or abilities of skillful artisans who

                       worked to manufacture the porcelain bodies, the saggers, the glazes, and ornamental


                       designs.  In fact, while Guo himself had lived in Jingdezhen and observed production

                       processes up-close, artisans and potters were rarely mentioned.  Rather, what stand out in


                       Guo’s writings are the twin axes of porcelain objects and porcelain administrators sent

                       from the emperor.   In Guo’s retrospective on Tang Ying, exquisite porcelain pieces and

                       Tang Ying’s written works were the valuable facts that merited Guo’s attention and art


                       collection.  Guo also mentioned that his personal collection of art included some of Tang

                       Ying’s porcelain objects and calligraphy.  The same themes are evident in the “Brief


                       Description of Porcelain” essay on porcelain history written for the 1935 exhibitions.

                       Guo’s focus on imperial officials’ agency stand in contrast to conceptions of porcelain


                       and ceramic art that were also in vogue at the time, such as Bernard Leach’s works on

                       Oriental pottery, or Stephen Bushell’s works on Chinese porcelain, which either focused


                       on individual artisan’s accomplishments or the ceramic objects’ natural development.

                              Guo put forth an outline of porcelain history and development that ignored


                       historical realities.  In fact, there is no scholarly consensus as to what a “porcelain

                       commissioner” is.   In the Chinese-language sources, they are variously referred to as
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