Page 82 - Jindezhen Porcelain Production of the 19th C. by Ellen Huang, Univ. San Diego 2008

65

72
Fu Zhenlun, “Zhongguo yishu guoji zhanlan canguan ji,” 168.

73 John Ferguson, “Reflections on the London Exhibition of Chinese Art” (1936): 434-
435.

74
The Times, January 15, 1936.

75
Da Gongbao “Special Issue on the Preliminary Exhibition of the London Exhibition of
Chinese Art.”

76
Ye Gongchuo’s article was reprinted in Shenbao, April 9, 1935, and first published in
the issue in Da Gongbao, April 6, 1935; Mme. Guo Taiqi, “Introduction,” in Chinese Art
(1935).

77
See Qin Dashuॢɽዓ, “Lun ‘yaoxi’ gainian de xingcheng, yiyi, ji qi juxian xing,” ሞ
ᇉӻ฿ׂٙБϓ,จ່, ʿՉڻࠢ׌ [About the kiln system concept development, its
meanings, and its limitations] Wenwu˖ي 62:5 (2007): 60-65. One of the most important
discoveries was the archaeological site of Northern Song city of Jule gu མ௤۬̚ in
present-day southwest Hebei province, Pingxiang county. See also the spate of
Jingdezhen specific studies that were published around the time of the exhibition and the
discussions of porcelain and Chinese art were taking place: Jiang Siqing Ϫܠ૶,
Jingdezhen ciye shi ౻ᅃᕄନุ̦ [History of the Porcelain Industry in Jingdezhen]
(Shanghai: Zhonghua shuju, 1936); Li Haoting ኇखڤ, Jingdezhen taoci gaikuang ౻ᅃ
ᕄௗନ฿ر [Survey of Jingdezhen Ceramics] (Shanghai: Zhengzhong shuju, 1937);
Xiang Zhuo, Jingdezhen taoye jishi (1920). The point that recent excavated finds in
Jiangxi influenced the reconsideration of dating and authentication of specific found
objects is the point made by Ferguson in his article. Thus, Ferguson criticized the
confusion and arrogance of the London Committee’s labeling and identification of sent
porcelains from China. See John C. Ferguson, “Reflections on the Exhibition,” 438. The
“?” was part of the London Committee’s actual display labels, as noted by John Ferguson.

78 Susan Buck-Morss, Dialectics of Seeing (Cambridge, Mass: MIT Press, 1989), 81. See
Tony Bennett, Birth of the Museum: History, Theory, Politics (London: Routledge,1995).

79
Guo Baochang has been written about in very few scholarly works, and his name
appears in quite a few informal sources, including memoirs, art history ceramics studies,
which are all based on his own writings or contemporary to his lifetime and career. The
various accounts of his life are not in agreement over his dates of death. My account of
his life, career, and significance in this chapter is reconstructed primarily through: Mark
Chou, A Discourse on Hung Hsien Porcelain (San Francisco: F.L. Chou, 1987); Dong
Lianzhi ໨ஹ،, “Xinfaxian Tang Ying Taozheng shiyugao zixu,” อ೯ତࡥߵௗ݁ͪፙ
ᇃІҏ [Newly discovered Tang Ying preface to his Taozheng shiyugao] Liaoning daxue