Page 284 - Chinese and japanese porcelain silk and lacquer Canepa

significance as Christian motifs. It is widely accepted that these jars were made for 898 Rinaldi, 1989, pp. 118–119. For more information, see Stemm, Gerth, Flow, dates to ten years later. In July of 1635, the Hoge Regering in Batavia sent a letter
899 These armorial bottles, believed to have been
Guerrera-Librero and Kingsley, 2013, pp. 14-15.
use in religious services. Presumably, as Krahl and Harrison-Hall suggest, these jars commissioned by Álvaro de Vilas-Boas, were 907 A small number of extant Namban bottles of similar to Tayouan informing that ‘The snellen will be profitable considering the painting
discussed by the author elsewhere. See, Vinhais and shape, made in Japan during the Momoyama period
were commissioned for Portuguese Jesuits. The controlled naturalism and sculptural Welsh, 2008/2, pp. 160–167; Canepa, 2008–2009, (1573–1615), will be discussed in section 4.1.2 of and because they are of a reasonable fashion, as will all other new and rare porcelains
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Chapter IV.
qualities of both the moulded handle of the ewers and the winged cherubs of the jars pp. 71–72, fig. 8, Canepa, 2012/1, p. 272. Also see 908 For another example in the Historisch Museum like beermugs, bowls with ears, salt cellars, candlesticks, serving dishes and winejugs,
Pinto de Matos, 2011, pp. 166–169, no. 66.
discussed above were completely consistent with European Renaissance taste. 900 Archaeological finds indicate that green moulded Palthehuis in Oldenzaal, see D.F. Lunsingh following the accompanying models’. From an answer sent from Tayouan to Batavia
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glass bottles of square section were produced in Scheurleer, Chinese Export Porcelain-Chine de
As the preceding porcelains indicate, virtually all the new shapes made after Germany as early as 1570–1580. Such bottles, made Commande, London, 1974, pl. 121. The British the following September we learn that European models to be copied were specially
European models were manufactured in ordinary trade porcelain or in Kraak porcelain in various sizes, became widely used in the Northern Museum example illustrated here is published in made in wood. It reads: ‘The merchants have given us the undertaking (having been
Harrison-Hall, 2001, pp. 280–281, nos. 11:11 and
Netherlands at the end of the sixteenth century. For
at the private kilns of Jingdezhen (Appendix 2). Two European shapes, however, are further information, see Robert H. McNulty, Dutch 11:12. Visual sources indicate that bottles of this type promised that we shall pay them for the fine wares almost as much again) to bring as a
Glass Bottles of the 17th and 18th Centuries. A came to be frequently used as flower containers
known in the thickly potted and relatively coarse porcelain made at the Zhangzhou Collectors Guide, Bethesda, 2004, pp. 19–23; and flanking a crucifix on altars of Christian churches sample very fine wares like large dishes and bowls and other assortments and in order
kilns. They prove that the Zhangzhou potters adapted their porcelain production to Kuwayama, 1997, p. 38, fig. 14. Square-sectioned in New Spain in the early eighteenth century, as to get good fashions and to decorate the same with all kinds of Chinese paintings, I
bottles were also made in stoneware and faience.
evidenced in a still life painting by Pedro Calderón
suit the requirements of their European clients in order to both profit from these 901 A few fragments were found among the fifteenth/ in the Museo Nacional de Historia, Mexico City. have had a turner and 2 or 3 painters working for more than 2 months to turn and
sixteenth century glass assemblage excavated Published in Kuwayama, 2006, p. 173, fig. 16; and
special orders and compete with the potters from Jingdezhen. It is likely that these from pits and rubbish deposits at Rua da Judaria Dona Leibsohn, ‘Made in China, Made in Mexico’, in paint jugs, wash-basins, cooling-tubs, dishes, mugs, salt cellars, mustard and waterpots,
Pierce and Otsuka, 2010, p. 33, fig. 11.
shapes, both different from those ordered at Jingdezhen, were introduced by Iberian in the town of Almada, situated on the Tagus River, 909 n the seventeenth century, glass square bottles also various cups of a good fashion, so that we trust that the next shipment will bring
I
opposite Lisbon. Published in Teresa Medici, ‘The
merchants (Portuguese or Spanish) at the end of the sixteenth century, namely a jar of glass finds from Rua da Judaria, Almada, Portugal of this type were carried in wooden cases for rare pieces, but they complain very much that of the extraordinary fine and large wares
(12th–v19th century)’, Revista Portuguesa de protection. Each case usually held twelve bottles.
tall, waisted cylindrical shape and a flowerpot. Thus far the earliest examples are those Arqueología, vol. 8, no. 2, 2005, p. 548, cat. nos. 131 As early as 1656, they were called ‘bottle case’ or hardly an eight or a tenth part remains whole and straight during firing, so that large
and 132.
recovered from the Spanish shipwreck San Diego (1600) (Fig. 3.4.1.2.12). The jars 902 Juan van der Hamen belonged to a wealthy, ‘case bottles’. For this opinion, see McNulty, 2004, pieces will be extraordinarily expensive’. Wooden models are again mentioned in
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p. 22.
copy faithfully the slender utilitarian drug jars made for the storing of medicinal herbs aristocratic family that descended from a line of 910 They are found in the British Museum (illustrated a letter sent by Governor Putnams to the Amsterdam Chamber, which states that he
Flemish noble and military figures who served the here), the Museu Nacional de Arte Antiga, an
at majolica centres in Spain, Italy and France throughout the fifteenth and sixteenth Habsburg court for generations. He was a member eighteenth century private house, now the Musée had given the Chinese merchants models of turned wood and painted will all kinds of
centuries, which in turn derived from Islamic tin-glazed containers (Fig. 3.4.1.2.13). of the Archer’s Guard, like his father and grandfather Orbigny-Bernon, La Rochelle, France and another is Chinese figures which they would get copied.
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in a private collection in Brazil. For a discussion on
had been, which had the honorary mission to
In Spain they were known as ‘Damascus bottles’ and in Italy as albarelli. The fact protect the monarch since the reign of Emperor the symbolic meaning of the scenes and images of Extant pieces in public and private collections around the world provide material
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Charles V. Four years after Van der Hamen married these bottles, see Harrison-Hall, 2001, pp. 384–385,
that the San Diego jars were found among the remains of the ship’s pharmacy indicates Eugenia Herrera, member of a family of painters and no. 12:79; Pinto de Matos, 2001, p. 30, fig. 6; Jean- evidence of the various shapes modelled directly after European models made to order
that they were used for shipboard medicine, containing drugs to treat the crew during sculptors, he received his first commission from the Paul Desroches, Le Jardin des Porcelaines, Paris, in Jingdezhen for the Dutch market. These European shapes, made in both the old
1987, pp. 112–114, no. 30; and Pinto de Matos, 2011,
Madrid court. The compositions made throughout
the long trans-Pacific voyage originally planned, rather than for export to the New his short career incorporate sumptuous silver, glass pp. 190–193, no. 74. Bottles of this shape were also but still popular Kraak porcelain and a new style of blue-and-white porcelain, the
Venetian objects, glass square bottles and Kraak decorated with Chinese narrative scenes framed
World. It seems that the Zhangzhou potters imitated the scale and shape of the porcelain, which indicate the level of wealth and by similar borders of flowers and curling leaves. so-called Transtional, suggest that private individuals and VOC servants wanted to
927
prototype as close as possible, yet the blue-and-white decoration is entirely in their taste of those who owned these objects and at the An example of this latter type, fitted with late- replace silver or pewter objects used daily at the dinner table in the Dutch Republic
seventeenth century mounts, in the Ashmolean
same time reflect the cosmopolitan atmosphere of
characteristic free and painterly style seen in other Zhangzhou porcelains of traditional the royal court he frequented. A glass square bottle, Museum in Oxford is published in Ashmolean with identical ones but made in the much desired novel material, porcelain. However,
perhaps the same depicted in the Still Life with Museum, Eastern Ceramics and other works of art
Chinese shapes. The flowerpot recovered from the San Diego, modelled with a tapering Sweets painting illustrated here, is again shown in from the collection of Gerald Reitlinger, catalogue their influence in the porcelain made to order for the Dutch market, as the Portuguese
body and everted rim, is of unusually high quality. While the jars show a free and his works Serving Table of the early 1620s and Still of the memorial exhibition, Oxford, 1981, no. 45. and Spanish experienced earlier, was limited. Even when the Chinese potters made
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Life with Fruit and Glassware dated to 1629.
An unmounted example is published in Viallé, 1992,
painterly floral decoration executed with broad brushstrokes, the flowerpot is finely 903 William B. Jordan, Spanish Still Life in the Golden p. 12. shapes based or copied exactly from European models and created new decorative
Age, 1600–1650, Forth Worth, 1985, p. 67, fig. II.3. 911 McNulty, 2004, p. 19. David Teniers the Younger
painted with long-tailed birds perched on peony branches in outline and wash. 904 Archaeologists believe that this shipwreck is the moved to Brussels in 1651, where he was appointed designs incorporating European motifs in response to this new European demand, the
Buen Jesús y Nuestra Señora del Rosario, a small court painter and keeper of the art collections of the painted decoration was, with few exceptions, kept purely Chinese.
Portuguese-built and Spanish-operated ship. regent of the Southern Netherlands, the Habsburg
They estimate that a minimum of 16 green glass Archduke Leopold William of Austria (r. 1646–1656), Only a few Kraak porcelain pieces modelled directly after European models
square bottles were aboard the ship. A number of cousin of Philip II of Spain.
screw collars recovered from the Santa Margarita 912 This particular use is shown in the painting Easy have been recorded so far. These include five standing salts, a small covered spice
Porcelain made to order for the Dutch market shipwreck indicate that bottles of this type were come, easy go by Jan Steen (c.1626–1679), dated box or sugar caster, and a beer mug made to order for the Dutch. The salts, all of
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1661, depicting a boy filing a decanter with wine
also on this ship. These two shipwrecks, part of the
Tierra Firme fleet, sank in the Florida Keys while on in the foreground, which is housed in the Museum hollow hexagonal shape with a stepped spreading rim and base standing on six lion
[3.4.2] their return voyage to Spain in 1622. Pewter screw Boymans-van Beuningen, Rotterdam. Jan Steen was
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collars were also recovered from the San Martin, the living in Haarlem at this time. For this opinion and a mask and paw feet, in the Gemeentelijk Museum in Kampen (Fig. 3.4.2.1.1), the
Almiranta of the Honduras fleet that sank en route detail of the painting, see McNulty, 2004, p. 20. Victoria and Albert Museum, and two private collections in the United States 937
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to Spain in 1618. 913 Pinto de Matos, 2011, p. 193.
905 Corey Malcolm, ‘Glass from Nuestra Señora de 914 Harrison-Hall and Pinto de Matos date these ewers and Brazil, are of particular interest. The overall shape is known from Dutch, 939
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Atocha’, Astrolabe: Journal of the Mel Fisher to c.1610–1630, but Krahl dates them to the late
European Shapes [3.4.2.1] Maritime Heritage Society, Vol. 6, No. 1, Fall 1990, sixteenth or early seventeenth century. The ewers German and English silver salts of the late sixteenth or early seventeenth centuries
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940
figs. 2–4.
Unlike Portuguese and Spanish textual sources, Dutch sources provide ample evidence 906 Square glass bottles circulated to the New World. in the British Museum are published in Krahl and (Fig. 3.4.2.1.2). Salts of hexagonal shape are also known in contemporary French and
Harrison-Hall, 1994, pp. 22–23, no. 5; Harrison-Hall,
of special orders of porcelain made for the Dutch market. The favorable conditions Large numbers of examples have been excavated 2001, p. 359, nos. 12:13 and 12:14; and Krahl, 2009, Dutch tin-glazed earthenware. Almost certainly, an earthenware, pewter or wooden
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from early seventeenth century English sites, p. 331, no. 154. For the example in the private
for direct trade with China after the Dutch settled on Tayouan in 1624 provided the including the sites of Mathews Manor and the collection, see Pinto de Matos, 2011, p. 198–199, model was given to the Chinese merchants to be copied, rather than an expensive
no. 77.
VOC an opportunity to place annual orders for porcelain in European shapes or with Reverend Richard Buck, both in Virginia, and the 915 Harrison-Hall, 2001, p. 359; Krahl, 2009, p. 331; and silver model, which would have not been returned from Jingdezhen, as China was
William Harwood, the Fort and the John Boyse
specific decorative motifs, for which models were given to Chinese merchants to be Homestead in Jamestown. Glass square bottles Pinto de Matos, 2011, p. 198. then craving for silver. The potters copied faithfully the shape but decorated it in
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have also been recovered from the Swedish warship 916 See for example the body shape of a silver-gilt
copied. As early as 1625, the VOC servants in Batavia supplied Tayouan with models Vasa, which sank in Stockholm 1628, and the VOC cruet possibly made in the Southern Netherlands purely Chinese style. Salt was a commodity of great value throughout Europe during
929
to be copied by Chinese potters in Jingdezhen that may have been either porcelain shipwreck Vergulde Draeck, which sank off Western (then under the rule of Spain) in c.1540; and that of the Middle Ages and Renaissance. Elaborate gold or silver salts, often far larger in
a silver and parcel-gilt ewer made in Spain in about
Australia in 1656. Pewter and lead caps, associated
pieces from earlier shipments or European models. This porcelain, however, was not with the aforementioned bottles, have also been 1580–1599. Published in Charles Oman, The Golden size than the small quantity of salt they contained, were placed on the dining table
found on VOC’s shipwrecks, including the Batavia Age of Hispanic Silver 1400–1665, London, 1968, pl.
delivered. The earliest written evidence of porcelain made after European models (1629), Lastdrager (1653) and Vergulde Draeck (1656). 92, fig. 145; and pl. 144, fig. 225, respectively. Pairs reflecting the social standing of the salt. The Dutch not only used salt in their own
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282 Silk, Porcelain and Lacquer Trade in Chinese Porcelain 283