Academic literature on the topic 'Porcelain, chinese – collectors and collecting'
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Journal articles on the topic "Porcelain, chinese – collectors and collecting"
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Guseva, Anna V. "Chinese Paintings from Western Museum Collections at the International Exhibition of Chinese Art in London, 1935: On the History of Collecting and Attributing Chinese Paintings." Izvestia of the Ural federal university. Series 2. Humanities and Arts 24, no. 2 (2022): 287–302. http://dx.doi.org/10.15826/izv2.2022.24.2.040.
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The International Exhibition of Chinese Art that took place in London’s Burlington House from November 1935 to March 1936 is recognised as the major exhibition of ancient and classical Chinese art of the twentieth century. Over two hundred collectors and institutions from 14 countries provided their objects of art to the exhibition. None of the previous exhibitions had had as many items: the number of objects was extraordinary with 3,080 entries in the catalogue of the London exhibition. Moreover, it was the first foreign exhibition presenting items from the former imperial collection of the Forbidden City (Gugun Museum since 1925). In addition to numerous porcelain and bronze items from private and museum collections, the exhibition contained about 300 paintings (monumental painting, scrolls, album sheets, and fans). While it is generally believed that western collectors only started being seriously interested in painting after World War II, the exhibition contained over a hundred paintings of non-Chinese provenance. Due to its scale, the International Exhibition of Chinese Art of 1935 could be considered a representative example of trends in the Chinese art collecting of the 1930s. For this reason, a close analysis of the catalogue may help enrich our idea of the formation of collections of Chinese art, the formation of taste, and its evolution over time. Data related to the paintings from the catalogue are analysed and then compared to the current descriptions from museum databases and catalogues.
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Wang, Yu, and Zhengding Liao. "Porcelain interior plastic of the 1950s in museums and private collections in China." Issues of Museology 12, no. 1 (2021): 58–67. http://dx.doi.org/10.21638/spbu27.2021.106.
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In the two decades since the establishment of the people’s Republic of China, the challenges facing porcelain production have changed significantly. Porcelain production is one of the most important and oldest traditions in China. In the 1950s, porcelain craftsmen became involved in the creation of new forms of interior plastics. Many of the pieces they created are now part of museum collections and represent the history of the development of Chinese interior porcelain. Using the example of three museums and three reference monuments, the article examines the key trends in the development of porcelain art and stylistic changes that occurred during this period. The following museums have been selected as examples to showcase the specifics of Chinese porcelain art from this period: the China Ceramic and Porcelain Museum located in Jingdezhen City, which is the country’s first major art museum specializing in ceramics; the Chinese Fine Arts Museum in Beijing, which specializes in collecting, researching and displaying works of Chinese artists of modern and contemporary eras; and the Guangdong Folk Art Museum, which specializes in collecting, researching and displaying Chinese folk art. All of these museums are engaged in collecting porcelain, including interior porcelain plastics from the mid-20th century. In the collections of the aforementioned museums, three works were selected for analysis. These are three paired compositions created in the second half of the 1950s: the sculpture “An Old Man and a Child with a Peach” by Zeng Longsheng, “Good Aunt from the Commune” by Zhou Guozhen and “Fifteen coins. The rat case” by Lin Hongxi. These porcelain compositions reveal close relations with Chinese national culture and not only reflect various scenes, but are also aimed at expanding the role of porcelain in decorating residential interiors.
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Wang, Xingqian. "Contemporary ceramic art of China: a look from the perspective of the art market." Культура и искусство, no. 8 (August 2023): 86–95. http://dx.doi.org/10.7256/2454-0625.2023.8.43723.
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The object of this research is contemporary Chinese art in the context of the latest trends in the development of the global and national art market. The subject of the study is the problem of underestimation of modern ceramic art in China and its potential from the standpoint of the art market. The history of the issue is considered, the analysis of the main directions of research development in this subject area is carried out. In addition, the article clarifies the existing concept of "modern ceramic art" in China. Special attention is paid to the analysis of the most significant modern objects of Chinese ceramics presented in the domestic art market of the country. The features of the artistic originality of the masters Li Jiusheng, Wang Silyan, Zhang Songmao, Guo Aihe are revealed. The scientific novelty of the research is connected with the development of ideas about the modern ceramic art of China, its role in the modern art market, both at the national and international levels. For the first time, the criteria for the demand for modern porcelain are revealed; the idea is stated that the problem of collecting modern Chinese ceramics remains on the periphery of scientific discourse. A special contribution is the establishment and justification of the artistic value of a number of works carried out for the first time in science, which were sold at various auctions for fabulous money. The main conclusions of the study are the following. Currently, the development of the art market indicates that experts are beginning to realize the artistic value of modern Chinese ceramics art. The greatest interest among collectors is aroused by works in the spirit of "ceramic painting" with the use of modern technologies that allow expanding the expressive possibilities of painting on porcelain. The boom in collecting modern Chinese porcelain, observed since the beginning of the XXI century, testifies to the high level of artistic execution of objects of modern ceramic art in China, as well as such qualities as innovation and non-standardness in terms of choosing themes, visual effects, expression of the author's idea, rethinking academic traditions.
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Zhang, Wenpu. "A Chinese screen in the collection of the State Hermitage Museum." Культура и искусство, no. 6 (June 2024): 225–34. http://dx.doi.org/10.7256/2454-0625.2024.6.70796.
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The object of the study is a Chinese screen. The subject of the study is the characteristic features of the Chinese screen based on the material of the Hermitage collection. During the consideration of the topic, such issues as the degree of study of the issues under consideration, the connection of the screen with the fields of fine and decorative arts are traced and analyzed. The analysis of seven items from the collection of the State Hermitage Museum is carried out. The analysis of rare samples of the Chinese screen allows us to identify the characteristic features of this subject, the specifics of the development of the Chinese screen in the XVIII – XIX centuries, as well as to discover its relationship with the spheres of decorative, applied and fine arts of China. The author examines in detail the artistic features of the objects, their design characteristics, the use of various materials – porcelain, wood, metal, jade, the content of calligraphic inscriptions appearing on the objects in the context of the aesthetics of the epoch and socio-cultural space. The research involves the systematization of information related to collecting, studying, and describing the screen in Russian museum practice and theory. Traditional methods of art criticism and historiographical analysis are used; a combination of formal and iconological methods allows to create a reliable idea of the works of art under consideration, identify meaningful and formal features; the historical and cultural method allows to clarify the nature of the patterns of screen development. The scientific novelty of the research primarily consists in the fact that for the first time an analysis of the Chinese screen in the collection of the State Hermitage Museum is carried out, a detailed description and a comprehensive art historical analysis of a number of previously unexplored objects are given. The systematization of Russian publications devoted to the problem of the screen is carried out, in particular, offering a description and analysis of certain screens. The study clarifies and expands existing ideas about the Chinese screen, clarifies the attribution of a number of objects in the collections of the State Hermitage Museum. It is concluded that the objects presented in the Hermitage collections are of considerable variety and give an idea of the variety of techniques and materials for creating screens in China in the XVIII – XIX centuries, allow us to see the connection between the art of creating screens with the field of decorative and applied arts and painting. The screen of this period is a work of art with high artistic value. The aesthetics of the screen is connected not only with the current trends in the development of decorative, applied and fine arts, but also with the socio-cultural context.
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Colomban, Philippe, Gulsu Simsek Franci, Jacques Burlot, Xavier Gallet, Bing Zhao, and Jean-Baptiste Clais. "Non-Invasive On-Site pXRF Analysis of Coloring Agents, Marks and Enamels of Qing Imperial and Non-Imperial Porcelain." Ceramics 6, no. 1 (February 3, 2023): 447–74. http://dx.doi.org/10.3390/ceramics6010026.
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On-site pXRF analysis in various French collections (Musée du Louvre, Musée national des Arts asiatiques-Guimet, Paris) of porcelains decorated with painted enamels from the Qing Dynasty, in particular porcelains bearing an imperial mark, identifies the types of enamels/glazes, the ions and coloring phases or the opacifier. The study of the elements associated with cobalt (nickel, manganese, arsenic, etc.) and of the impurities of the silicate matrix (yttrium, rubidium and strontium) differentiates the use of ‘Chinese/Asian’ raw materials from ones imported from Europe by the initiative of the European missionaries (chiefly Jesuits) present at the Court (Beijing). Particular attention is paid to the analysis of the blue color of the marks and to the elements associated with the use of gold or copper nanoparticles as well as to the compositions of the pyrochlore phases (tin yellow, Naples yellow). The comparison is extended to pXRF and Raman microspectroscopy measurements previously made on other Qing imperial porcelains as well as on Cantonese productions (on porcelain or metal) from different Swiss and French museums and blue-and-white wares of the Ming and Yuan Dynasties (archaeological and private collections).
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Mouquin, Sophie. "Chinese Porcelain from the Butler Collections, MNHA, 2008." Revue du Nord 379, no. 1 (January 1, 2009): VII. http://dx.doi.org/10.3917/rdn.379.0177g.
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Telste, Kari. "A Wedding Gift and Transculturation: Chinese Porcelain in Norway and the Danish Asian Company in China in the Eighteenth Century." Cultural History 7, no. 1 (April 2018): 1–19. http://dx.doi.org/10.3366/cult.2018.0156.
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Norwegian museums have large collections of chinaware, dating from the eighteenth century; most of it imported after the foundation the Danish Asian Company in 1732. I have selected a tea and coffee service in the collections of Norsk Folkemuseum: Norwegian Museum of Cultural History as a passageway to trace the entanglement of Norwegian consumers in cultural interactions with China. The service is part of a broader history of transculturation. This is a history of encounters and exchanges involving the cultural translation of Chinese designs in Europe, and Western designs in China. Into the transculturation is entangled the enthusiasm with Chinese porcelain in Europe, and the negotiations by which Chinese potters and painters translated European demands for particular shapes, decorative motifs and fashionable designs into porcelain products for export. Through the engagement of the Danish Asian Company in China, I will discuss the impact of these processes in Norway, and their influence on the tastes and preferences of Norwegian consumers.
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Colomban, Philippe, Burcu Kırmızı, Bing Zhao, Jean-Baptiste Clais, Yong Yang, and Vincent Droguet. "Investigation of the Pigments and Glassy Matrix of Painted Enamelled Qing Dynasty Chinese Porcelains by Noninvasive On-Site Raman Microspectrometry." Heritage 3, no. 3 (August 17, 2020): 915–40. http://dx.doi.org/10.3390/heritage3030050.
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A selection of 15 Chinese painted enameled porcelains from the 18th century (Qing dynasty) was analyzed on-site by mobile Raman and XRF microspectroscopy. The highly prized artifacts are present in the collections of the Musée du Louvre in Paris and Musée Chinois at Fontainebleau Castle in France. In the painted enamels, pigments such as Naples yellow lead pyrochlore, hematite, manganese oxide and carbon and opacifiers such as lead arsenates were detected. The glassy matrices of the enamels mainly belonged to lead-rich and lead-alkali glass types according to the Raman spectra obtained. The glaze and body phases of the porcelain artifacts were also analyzed. The detection of lead arsenate apatite in some of the blue enamels was significant, indicating the use of arsenic-rich European cobalt ores (smalt) and possibly mixing with Asian cobalt. This characteristic phase has also been identified in French soft-paste porcelains and glass decor and high-quality Limoges enamels from the same period. Based on the shape of the Raman scattering background, the presence of colloidal gold (Au° nanoparticles) was identified in red, orange and pink enamels. Different types of Naples yellow pigments were also detected with Sb-rich, Sn-rich and mixed Sb–Sn–(Zn, Fe?) compositions in the yellow enamels. The results were compared to previous data obtained on Chinese cloisonné and painted enameled metalware and Limoges enamels as well as French enameled watches.
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Grela-Chen, Magdalena. "Antithesis versus Inspiration: Chinese Clothing in the Eyes of Western Theorists and Fashion Designers." Intercultural Relations 4, no. 2(8) (February 16, 2021): 81–95. http://dx.doi.org/10.12797/rm.02.2020.08.05.
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Dress is a part of Chinese cultural heritage that has fascinated Western audiences for centuries. On the National List of Intangible Cultural Heritage of China, there are items related to textiles, embroideries and certain examples of Chinese clothing. This article analyses issues connected with the different uses of Chinese dress in the West. To fashion theorists such as Bell, Wilson, Sapir and Veblen, Chinese dress was the opposite of modern Western clothing and did not deserve to be called fashion. However, researchers such as Welters, Lillethun and Craik have opposed viewing fashion theory through a Eurocentric prism in their desire to rewrite fashion history. Fashion designers drew ideas from China, treating it as a source of inspiration to create their own original designs. For some of them, such as Yves Saint Laurent, it was a China of their imagination. In certain cases, they made use of porcelain designs or dragon motifs in their own collections, for instance, in designs by Cavalli and Ford. The incorporation of Chinese garments into Western collections has also become visible.
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Новікова Ольга. "ЦІНСЬКИЙ ФАРФОР ІЗ НАДПОЛИВ'ЯНИМ РОЗПИСОМ ЕМАЛЕВИМИ ФАРБАМИ (FAMILLE ROSE) З КОЛЕКЦІЇ НАЦІОНАЛЬНОГО МУЗЕЮ МИСТЕЦТВ ІМЕНІ БОГДАНА І ВАРВАРИ ХАНЕНКІВ." World Science 2, no. 1(41) (January 31, 2019): 33–39. http://dx.doi.org/10.31435/rsglobal_ws/31012019/6304.
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The article deals with the works of polychrome painted Chinese porcelain created in the Qing era from the Bohdan and Varvara Khanenko Museum of Arts. Each product is analyzed in terms of its color, decoration and image scenes. Attention of the author is focused on symbolic images, among which are anthropomorphic, zoomorphic and vegetative motifs, end variations of the so-called Chinese still life.As a result of the study, three items of Chinese polychrome porcelain with super-polished painted enamel paints were analyzed. The disclosure of semantic content, symbols and semantics of artistic decorations created on the basis of the Chinese religious and mythological beliefs, as well as literary and artistic works has been revealed. The attribution of products based on comparison with similar items from collections of world museums has been specified. The origin of the image of «Chinese woman with a child», which was commonly used during the reign of Emperor Yongzhen and his successor Qianlong, is related to several factors. First, creating a cycle of «Twelve Beauties at Leisure Painted for Prince Yinzhen, the Future Yongzheng Emperor», images of which have been reflected in numerous repetitions, in particular, on porcelain products. Secondly, the spread of European Christian missionaries in China with European models with the image of the Virgin Mary and the infant Christ, which could be the starting point for the spread of the Chinese «prototype» of a woman with one or two children.
Dissertations / Theses on the topic "Porcelain, chinese – collectors and collecting"
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Knittler, Konstanze Amelie. "Motivations and patterns of collecting : George Salting, William G. Gulland and William Lever as collectors of Chinese porcelain." Thesis, University of Glasgow, 2011. http://theses.gla.ac.uk/2811/.
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The collecting of Chinese ceramics had become an increasingly popular activity in late 19th-century Britain. Whereas the 18th century was characterised by an interest in porcelain for the purpose of interior design, the political developments between China and Britain enabled a new approach to Chinese cultural identity; different Chinese material became available in the wake of the Second Opium War (1856-1860) and the subsequent sacking of the Imperial Summer Palace of Yuanmingyuan, and this material entered Britain for the first time. Due to the opening of China to foreign merchants, Britons now could move freely in the country and gain access to ‘luxury goods’ such as porcelain. As a result, a different taste for Chinese porcelain emerged and developed, which would reflect on the collecting scene in Britain. This thesis examines the motivations and collecting patterns of three British collectors (George Salting, William G. Gulland and William Lever) in the context of late 19th- and early 20th-century Chinese porcelain collecting. All three men built significant collections in the given period, which entered national institutions by gift and/or bequest, as well as a purpose built gallery in one case. Nonetheless the collectors’ achievements in the field of Chinese ceramics have not been analysed extensively and therefore the present thesis aims at complementing the existing research. The study makes predominant use of primary unpublished material on the three collections, which enables conclusions to be drawn on the incentive and approach of these collectors in accumulating Chinese artefacts during this period. In consideration of those findings, it will be argued whether their collecting encouraged an underlying common motif and how their tastes matched the general concept of collecting porcelain in the late 19th and early 20th centuries. The first chapter provides an introduction to the subject, and will be followed by a historical abstract of 19th-century collecting in Britain and a review of the published literature in the second chapter. The third chapter examines the collecting activity of the oldest collector, George Salting, by analysis of his purchase activity and the bequest of his Chinese porcelain collection to the Victoria and Albert Museum. The fourth chapter considers the collecting of William G. Gulland, whose first-hand experience of East Asia prompted him to collect and publish books on Chinese porcelain. The fifth chapter will look into the collecting principles of William Lever, whose Chinese collection stands in contrast to his overall British taste. The conclusion in the sixth chapter will summarise the major points of the preceding chapters and it will put the achievements of the three collectors into perspective with the general idea of collecting Chinese porcelain in Britain in the period under discussion.
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Lim, Eunmin. "Re-collections and movements : Murray Marks's translations of Chinese porcelain and Italian Renaissance bronzes, ca. 1860-1918." Thesis, University of York, 2015. http://etheses.whiterose.ac.uk/17780/.
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In his work Truth and Method, Hans-Georg Gadamer suggests rehabilitating the decorative element in art, which was discredited by Kant’s aesthetics in an antithetical relationship to the concept of art based on ‘pure form.’ As decoration is determined by its relation to what it is decorating, it is neither placeless nor timeless. The temporality and place of the work of decorative art question “the aesthetic consciousness according to which the work of art is what is outside all space and all time.” Drawing on Gadamer’s philosophical hermeneutics, this study aims to explore how the London-based antique and curiosity dealer Murray Marks (c. 1840-1918) contributed to the appropriation of Chinese porcelain and Italian Renaissance bronzes by three different artistic regimes in Europe. Marks’s transfer of the three-dimensional decorative objects into various artistic circles achieved such mobility – between East and West, past and present, and public and private spheres. Marks integrated Chinese porcelain and Italian Renaissance bronzes into a modernist artistic practice (The British Aesthetic Movement in the 1860s and 1870s), the public museum (the South Kensington Museum around 1880), and cataloguing projects based on subjectivity-centered aesthetics (with Wilhelm von Bode of the Berlin Museums from the late 1880s). This continual migration of objects demonstrates that understanding a work of art is rather a question of interpretation across time and space than a transcendental aesthetic experience. In this respect, this study will investigate Marks’s role as a cultural translator.
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Chopard, Lucie. "La collection d'Ernest Grandidier au Louvre (1870-1915) : voir, comprendre, donner à voir la porcelaine chinoise." Thesis, Université Paris sciences et lettres, 2021. http://www.theses.fr/2021UPSLP091.
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En 1894, une collection de plus de trois mille pièces, déjà célèbre à Paris, entre au Musée du Louvre : il s'agit de la collection d'Ernest Grandidier (1833-1912). La nature des objets qui la composent — des porcelaines chinoises — et le rôle que le collectionneur entend continuer de jouer auprès de sa collection — il exige d'en devenir le conservateur — la distinguent des autres libéralités qui affluent au musée sous la Troisième République. De l'installation de sa collection à l'entresol de la Grande Galerie en 1895, à sa mort en 1912, Grandidier n'aura de cesse, au musée, d'enrichir ses vitrines et de veiller sur ses objets.Notre approche ne consiste pas en une expertise sur les céramiques réunies par Grandidier, mais en une étude de cet objet qu'est sa collection dans son contexte qui se décline autour de la question de la perception, et donc du regard. L'interaction complexe entre ces porcelaines, identifiées comme la culture matérielle d'un pays éloigné, et la seconde moitié du XIXe siècle français, est ainsi examinée à la lumière de l'histoire d'une collection, des conditions de son installation au Louvre et du regard français sur la porcelaine de Chine à cette période. Ce que révèle l'histoire de la collection Grandidier, c'est que bien que son créateur soit engagé dans une démarche spécifique vis-à-vis de la porcelaine de Chine — sa datation et son classement —, il ne reste pas insensible aux discours artistiques et critiques de son temps. Il relie les recherches sinologiques de la période, principalement tournées vers la philologie, aux Expositions universelles, ou encore les missionnaires lazaristes aux travaux de l'Union centrale des arts décoratifs (UCAD) en faveur de l'union de l'art et de l'industrie. En effet, le collectionneur défend sa donation en présentant sa collection comme un outil d'enseignement dans deux domaines : celui de l'histoire de la porcelaine chinoise et celui de l'industrie. Nous souhaitons interroger ces deux justifications afin de préciser la réception de ces objets par le collectionneur et ses contemporainsIn 1894, a collection of more than 3000 pieces, already famous in Paris, enters the Musée du Louvre: that of Ernest Grandidier. The nature of the objects that formed it - Chinese porcelains - and the role the collector intends to keep next to his collection - he requires to become its keeper - distinguishes it from the other donations made to the museum during the Third Republic. From the installation of the collection in the “entresol” of the Grande Galerie in 1895, to his death in 1912, Grandidier keeps enriching his showcases (now at the museum) and watching after his pieces.My approach is not a study of the ceramics gathered together by Grandidier, but a study of his collection in its context which develops around the perception and, thus, the gaze. The complex interaction between these porcelains, identified as material culture of a distant country, and the second half of the 19th-century, is examined in the light of the history of a collection, the conditions of its installation at the Louvre and the French gaze on Chinese porcelain at that time. The history of the Grandidier collection reveals that although its creator is involved in a specific process towards Chinese porcelain - its dating and classification -, he is not indifferent to the critical and artistic discourses of his time. He connects together sinology of the period, mostly devoted to the philology, to the universal exhibitions, and the Lazarist missionaries to the work of the Union centrale des arts décoratifs (UCAD). Indeed, the collector, as he supports his gift, presents his porcelains as a teaching tool of two fields: industry and history of Chinese porcelain. I would like to question these two justifications in order to precise the reception of these objects by the collector and his contemporaries
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Wear, Eric Otto, and 華立強. "Patterns in the collecting and connoisseurship of Chinese art in Hong Kong and Taiwan." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2000. http://hub.hku.hk/bib/B43894392.
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Vivien, Béatrice. "Les demeures et collections d'un grand seigneur : René de Longueil, Président de Maisons (1597-1677)." Thesis, Paris 4, 2014. http://www.theses.fr/2014PA040195.
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René de Longueil hérita de façon imprévue et presque simultanée de la seigneurie familiale de Maisons en 1629 et de l’héritage provenant de la famille de sa femme en 1630 qu’il sut par son habileté tourner à son avantage. Il entreprit dès lors la construction d’un château neuf, confié à François Mansart ainsi qu’à l’équipe de Jacques Sarrazin, célébré comme l’une des plus belles demeures de France. Mais il ne vit l’achèvement du projet que dix années avant sa mort, faisant de Maisons un chantier permanent, celui-ci ayant été conduit en plusieurs phases successives. A Paris, il habita rue de Béthisy, dans un hôtel hérité de Nicolas Chevalier, son oncle par alliance. Sa femme Madeleine, disparue très tôt, reste une figure mystérieuse, inspirant une partie du décor du nouveau château. Il eut également à coeur d’agrandir la seigneurie par l’achat de fiefs qui constituèrent un vaste territoire dans le Pincerais, entourant quasiment le domaine royal de Saint-Germain. Descendant d’une famille de robe, il acheta les charges de président de la cour des Aides, puis de président à mortier. Durant la Fronde, il joua un rôle important d’intermédiaire entre le Parlement et la Régence. Il eut l’honneur de servir le roi comme capitaine de ses châteaux de Versailles et Saint-Germain, avant d’être nommé surintendant des finances en 1650. Exilé quelques années en Normandie, il put, à son retour en grâce, accéder au rang de marquis en 1658 et recevoir le roi et la Cour. Ses demeures de Maisons et de Béthisy renfermaient un mobilier très riche et précieux, ainsi que de nombreuses oeuvres d’art. Homme de goût, dans l’esprit de son temps, il s’intéressa aux tapisseries, aux porcelaines et aux orangers. Les poètes célébrèrent les jardins de Maisons. Il fit de l’excellence une règle en n’employant que les meilleurs artisans et domestiques. Homme puissant, riche, célèbre, il transmit un patrimoine très important et son titre de marquisIn an unexpected manner, and in a short time, Rene de Longueil inherited to the family seigneury of Maisons in 1629 and the heritage of his wife’s family in 1630 which he took advantage by his cleverness. Ever since Rene de Longueil undertook the construction of a new chateau, trusted François Mansart and Jacques Sarrazin’s team, and celebrated as one of the most beautiful residence in France. But he saw the finishing of the project only ten years before his death: Maisons was an endless building site, done one stage at a time. In Paris, he lived at rue de Béthisy, in a town house, inherited from Nicolas Chevalier, his uncle in-law. His wife, Madeleine, dead too early, stays a mysterious person who inspired the decoration of the new chateau. He had one’s heart set on extending the seigneury with the purchase of fief which constituted a huge territory in le Pincerais, surrounding nearly the crown estate of Saint-Germain. Descendant of a noble family, he baught the charges of la Cour des Aides and Président à mortier. During the Fronde, he played an important role as an agent between the Parlment and the Regency. He had the honour of serving the king as captain of his chateau in Versailles and Saint-Germain, before he’s promoted Superintendent of Finances in 1650. He lived in exile in Normandy a few years. Back in favour, he could assent to rank of Marquis in 1658 and welcoming the king and the Court. His places of residence in Maisons and Bethisy contained sumptuous and precious furniture, as well as many works of art. Man with a lot of taste and moving with the times, he took an interest in tapestries work, chinas, and orange trees. The poets celebrated the gardens of Maisons. Excellence became his rule employing the best craftmens and the best servants. Powerful, rich and famous man, he transferred a considerable heritage and his title of Marquis to his descendants
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"明中葉吳中地區書法鑑藏與文徵明書法之關係 =: Connoisseurship of calligraphy in Suzhou during mid-Ming and its relationship with Wen Zhengming's calligraphy." 香港中文大學, 1995. http://library.cuhk.edu.hk/record=b5895577.
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鄧民亮.論文(碩士) -- 香港中文大學硏究院藝術學部,1995.
參考文獻: leaves [1-9] (2nd group)
Deng Minliang.
前言 --- p.2
Chapter 第一章 --- 吳中地區的復興對書法好¯‘ة之影響 --- p.4
Chapter 第二章 --- 文徵明的交遊與吳中文苑 --- p.22
Chapter 第三章 --- 吳中地區的書法收藏槪況與 文徵明的鑑藏活動 --- p.72
Chapter 第四章 --- 文徵明的書學 --- p.103
Chapter 第五章 --- 文徵明的書法風格與所見藏品之關係 --- p.122
總結 --- p.157
參考書目
附錄一文徵明家藏及題跋書法名蹟
附錄二著錄所見及傳世文徵明所書《千字文》
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附錄四吳寬《匏翁家藏集》所載書法題跋
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附錄十項元汴所藏書法
附錄十一《鈐山堂書畫記》所載書法收藏
附錄十二《珊瑚網》著錄書法收藏
附錄十三詹景鳳《東圖玄覽編》所載書法收藏
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Books on the topic "Porcelain, chinese – collectors and collecting"
1
Castelluccio, Stéphane. Collecting Chinese and Japanese porcelain in pre-revolutionary Paris. Los Angeles: The J. Paul Getty Museum, 2013.
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2
Min jian xun ci ji shi. Beijing Shi: Xue yuan chu ban she, 2004.
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3
Chilnese ceramics: The Koger collection. London: P. Wilson Pubs., 1985.
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4
Ekkehard, Schmidberger, Achenbach Nora von, Klein Lisa, Weinberger Cornelia, and Landesmuseum (Staatliche Kunstammlungen Kassel). Abteilung Kunsthandwerk und Plastik., eds. Porzellan aus China und Japan: Die Porzellangalerie der Landgrafen von Hessen-Kassel, Staatliche Kunstsammlungen Kassel. Berlin: D. Reimer, 1990.
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5
Chunyuan, Wang, ed. Ma shuo tao ci. Beijing: Zhongguo qing nian chu ban she, 1997.
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6
Mark, Hinton, Impey O. R, Ashmolean Museum, and Christie, Manson & Woods., eds. Kensington Palace and the porcelain of Queen Mary II: Essays in association with the exhibition China Mania, a re-creation of Queen Mary II's display of oriental porcelain at Kensington Palace in the 1690's. London: Christie's, 1998.
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7
T, Bailey Ann, Howard David S, and Washington and Lee University. Reeves Center., eds. Chinese export porcelain: In the Reeves Center collection at Washington and Lee University. London: Third Millennium Publishing, 2003.
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8
Zui wen ming: Shou cang Ma Weidu. Beijing Shi: Zhong xin chu ban she, 2014.
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9
Leite, José Roberto Teixeira. As companhias das Indias e a porcelana chinesa de ecomenda. Salvador: Fundação Cultural da Bahia, 1986.
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10
Étienne, Martin, and Musée des arts décoratifs (Strasbourg, France), eds. Le goût chinois du cardinal Louis de Rohan: Les collections extrême-orientales du Musée des arts décoratifs. Strasbourg: Musées de la ville de Strasbourg, 2008.
Find full textBook chapters on the topic "Porcelain, chinese – collectors and collecting"
1
Xia, Nai. "Chinese Export Porcelain Collections in Sweden." In Studies in Silk Road Archaeology, 159–66. Singapore: Springer Nature Singapore, 2024. http://dx.doi.org/10.1007/978-981-99-7475-7_17.
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2
Glaister, Helen. "Chinese Porcelain in European Style." In Chinese Art Objects, Collecting, and Interior Design in Twentieth-Century Britain, 1–32. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003230779-1.
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Suchomel, Filip. "Chinese Porcelain in the Czech Aristocratic Collections of the 17th, 18th and 19th Century." In Investigation and Conservation of East Asian Cabinets in Imperial Residences (1700–1900), 153–66. Wien: Böhlau Verlag, 2017. http://dx.doi.org/10.7767/9783205207139.153.
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