Relevant bibliographies by topics / Porcelain, japanese – collectors and collecting

Academic literature on the topic 'Porcelain, japanese – collectors and collecting'

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Published: 26 July 2024

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Journal articles on the topic "Porcelain, japanese – collectors and collecting"

1

Jeong, Eunjin. "Collecting and Researching Chosŏn White Porcelain in Modern Japan: focusing on the late 1920s." Korean Journal of Art History 319 (September 30, 2023): 145–72. http://dx.doi.org/10.31065/kjah.319.202309.005.

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The study of Korean ceramics in the modern period was initiated by the discovery of Koryŏ celadon. The first collectors were mainly Europeans and Americans but it was not long before Japanese scholars, namely Yamayoshi Moriyoshi(1859-?) and Yagi Shozaburo(1866-1942), attempted to establish the history of Korean ceramics, introducing Chosŏn dynasty into the history for the first time. Thereafter, Japanese scholars and collectors dominated the study and collection of Korean ceramics. In the 1920s, the Asakawa Noritaka(1884-1964) and Takumi(1891-1931) brothers and Yanagi Muneyoshi(1889-1961) pioneered the collection, evaluation, and study of Chosŏn white porcelain. The collecting, academic research, and public interest were the three main elements that were closely connected to strengthen the understanding of Korean ceramics.</br>The pioneering activities of the Asakawa brothers and Yanagi did not have a large impact at first, but the high price attained by Goshomaru, a Koryŏ tea bowl, in an auction in 1925, and the so-called Gyerongsan uproar of 1926 attracted public attention, resulting in the 1930s craze for Chosŏn crafts including Chosŏn white porcelain. Large amounts of Chosŏn craft items were shipped from Korea to Japan in the 1930s.</br>From the 1930s to the 1940s, a new social class emerged in Korea that valued culture and refinement, and collections by Koreans rapidly increased. Although the early role of Japanese collectors and scholars in modern collection and study of Korean ceramics cannot be disputed, by the 1930s, Koreans were starting to take over the role.
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Katsnelson, Galina Sergeevna. "Japanese collection of V.V. Vereshchagin: questions, answers, secrets." Samara Journal of Science 8, no. 1 (February 28, 2019): 213–19. http://dx.doi.org/10.17816/snv201981215.

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The paper is dedicated to the collection of Japanese art objects, which were bought by the famous Russian artist V.V. Vereshchagin during his travelling to Japan in 1903. The paper represents the main information about the travel and excerpts from Vereshchagins memories about the country and art objects he bought. The description of the Vereshchagins collection was made on the base of the memories of Vereshchagins son and the catalogue of the collection which was published for the trade-exhibition in Moscow in 1910. Japanese collections part of the catalogue consists of the objects № 76-355. Some groups were distinguished among those artifacts: interior items, textile, clothes, accessories, enamel, bronze, turtle, porcelain, faience and different trivia. The description of the collection was made in connection with those groups. Some thoughts are represented about the main reasons of the collections trade-exhibition and its fate after the trade-exhibition. Analyzing the art objects, which were brought by Vereshchagin from Japan could help to understand what artists interest was in Japanese life.
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Almazán Tomás, V. David, and David Lacasta Sevillano. "Literatura japonesa y porcelana Kutani: Escenas del Genji Monogatari en el Museo de Artes y Costumbres Populares de Sevilla." Artigrama, no. 37 (June 30, 2023): 379–98. http://dx.doi.org/10.26754/ojs_artigrama/artigrama.2022379223.

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Resumen Los numerosos objetos de exportación japoneses llegados a Europa desde la apertura de la era Meiji (1868-1912) propiciaron el fenómeno del Japonismo y el coleccionismo de obras artísticas que hoy forman parte de numerosos museos. Este artículo analiza un conjunto excepcional de veintiuna piezas de porcelana de Kutani (Japón) conservadas en el Museo de Artes y Costumbres Populares de Sevilla procedentes de la colección de Joaquín Soria, cuya decoración son distintos episodios del Genji Monogatari, la gran obra clásica de la literatura japonesa, que sigue los diseños del artista de la estampa ukiyo-e Ogata Gekkō (1859-1920). En concreto, las escenas representadas en las cerámicas proceden de la serie Los cincuenta y cuatro capítulos del Genji realizada entre los años 1892 y 1895 en Tokio. Este conjunto de obras muestra que las estampas ukiyo-e de la era Meiji formaron parte de los repertorios decorativos de las porcelanas japonesas, proyectando una imagen de Japón basada en su rica tradición literaria y cultural. Abstract Numerous Japanese export objects arrived in Europe from the beginning of the Meiji era (1868-1912), giving rise to the phenomenon of Japonisme and the collections of works of art that today form part of several museums. This article analyses an exceptional set of twenty-one pieces of Kutani porcelain (Japan) from the Joaquín Soria collection in the Museo de Artes y Costumbres Populares in Seville. These pieces are decorated with different episodes from the Genji Monogatari, the great classic work of Japanese literature, which follows the designs of the ukiyo-e print artist Ogata Gekkō (1859-1920). The scenes depicted on the ceramics derive from the serie Fifty-four Chapters of the Genji, produced between 1892 and 1895 in Tokyo. This group of Kutani pieces shows that Meiji-era ukiyo-e prints formed part of the decorative repertoire of Japanese porcelain, projecting an image of Japan based on its rich literary and cultural tradition. Keywords Japan, Kutani, Porcelain, Genji, Ogata Gekkō.
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Bincsik, Monika. "European collectors and Japanese merchants of lacquer in ‘Old Japan’." Journal of the History of Collections 20, no. 2 (August 5, 2008): 217–36. http://dx.doi.org/10.1093/jhc/fhn013.

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Abstract During the Meiji period, following the opening of Japan's borders to foreign trade, not only did the Japanese lacquer trading system and the market undergo a marked change but so too did almost all the factors affecting collecting activities: the European reception of the aesthetics and history of Japanese lacquer art, the taste of the collectors, the structure of private collections, the systematization of museum collections, along with changes in the art canon in the second half of the nineteenth century. The patterns of collecting Japanese lacquer art in the second half of the nineteenth century cannot be understood in depth without discussing shortly its preliminaries in the seventeenth and eighteenth centuries, focusing also on the art historical reception of Japanese lacquer in Europe. Supplementary material relating to this article in the form of a list of dealers and distributors of lacquer in Japan during the Meiji period (1868–1912) is available online.
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Litvin, Tatyana A. "The dragon motif in Far Eastern porcelain: Towards attribution problems." Issues of Museology 14, no. 1 (2023): 48–59. http://dx.doi.org/10.21638/spbu27.2023.104.

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The article is devoted to the analysis of a typical Chinese figurative motif — a dragon, in porcelain objects of the Ming and Qing dynasties and in works of Japanese ceramic art of the Meiji era. The approach to the study of decorative and applied art from the point of view of the motive has been repeatedly tested by the author when compiling typological series of antique motifs in the decorative and applied art of Russian classicism. The novelty of this article is that for the first time more than fifty Chinese and Japanese objects with dragons dating from the 14th — early 20th centuries originating from the National Museum of Chine, the Shanghai and Nanjing Museums, the Metropolitan Museum of Art, the National Museum in Tokyo, the Victoria and Albert Museum, the State Hermitage Museum, as well as from several private collections. The following features were compared: posture, body position, color scheme, the nature of the background, as well as whether the dragon image is single or paired, the painting is made underglaze or overglaze, in the form of a flat or relief image. The early stage of the 14th–16th centuries it does not allow us to find prototypes of dragon images in the past, but still the author has collected certain information about cases of reflection of the dragon theme in Chinese cultural monuments. The objects of the 18th and, especially, the 19th centuries serve as a good material to find in the art of the bygone eras of the Celestial Empire the previous artistic interpretations of dragons. In the final part of the article, an overview of dragon images in Japanese ceramic art is presented, the reasons for the migration of this motif caused by the victory of Japan, as a competitor, in the Far Eastern porcelain market are substantiated.
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Krahl, Regina. "Export porcelain fit for the Chinese emperor. Early Chinese blue-and-white in the Topkapĭ Saray Museum, Istanbul." Journal of the Royal Asiatic Society of Great Britain & Ireland 118, no. 1 (January 1986): 68–92. http://dx.doi.org/10.1017/s0035869x00139127.

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The Topkapĭ Saray holds one of the world's largest collections of Chinese ceramics, but at the same time one of the least well known. It consists of over ten thousand pieces, of which roughly fifteen percent are on permanent display; only a few hundred items have ever been published, and not more than twenty-five objects have been on exhibition outside Turkey. To compare this collection with the even larger one in the National Palace Museum, Taipei, is quite instructive: the pieces are completely different and have almost no item in common in spite of the fact that they cover largely the same period. What is housed in the National Palace Museum is a substantial part of the former Imperial collection or, at any rate, had once belonged to the holdings of the Imperial palace in Beijing (Peking). It had then been packed up in 1931 when the Japanese invaded Manchuria, and after a sixteen-year trip through China from one supposedly safe place to another, had finally been transported from the mainland to Taiwan when Chiang Kaishek established his government there. It represents a superb cross-section of those ceramics that were produced for the Chinese home market, in particular for the Imperial court and the scholar-official elite with its high standards of artistic perfection.
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Wagner, Malene. "Eastern Wind, Northern Sky." Journal of Japonisme 1, no. 1 (January 4, 2016): 41–65. http://dx.doi.org/10.1163/24054992-00011p04.

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Among countries like Germany, France and England, Denmark took part in the ‘japanomania’ that swept the West in the second half of the nineteenth and early twentieth centuries. Key figures in promoting Japanese art were art historian Karl Madsen and artist and museum director Pietro Krohn. Both played a significant role in trying to establish Denmark in the field of Japanese art on a par with serious international art collectors and connoisseurs. Their connections to Justus Brinckmann in Hamburg and Siegfried Bing in Paris enabled them to put on exhibitions that would introduce to a Danish audience a, so far, relatively unknown and ‘exotic’ art and culture. Often perceived in the West as expressing an innate understanding of nature, Japanese art became a source of inspiration for Danish artists and designers, such as Arnold Krog, who would create a synthesis between the Nordic and Japanese in his porcelain works.
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Peraš, Ines, Milica Mandić, and Slađana Nikolić. "Settlement patterns of molluscs, with particular reference on Great Mediterranean scallop (Pecten jacobaeus, Linnaeus) and biofouling organisms on different type of collectors and locations in Boka Kotorska Bay." Acta Adriatica 63, no. 1 (August 8, 2022): 9–26. http://dx.doi.org/10.32582/aa.63.1.1.

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The settlement of molluscs’ larvae of and other biofouling organisms on experimental collectors was studied, with particular reference Great Mediterranean scallop, Pecten jacobaeus. Three types of experimental collector made from vegetable sacks, modelled based on the collectors used in Japan, were placed in four existing fish and shellfish farms located in the Boka Kotorska Bay. The experimental collectors were placed in the periods June–October and June–December 2017 and the period August 2017–February 2018 and monitored after immersion of four to six months, respectively. In total, 18 species of molluscs and also 28 species of biofouling organisms were determined. The most abundant ones found on the collectors were the following shellfish species (68 %) Talohlamys multistriata, Mytilus galloprovincialis, Modiolarca sp., Anomia ephippium and Limaria hians. The most abundant group of biofouling organisms were crustaceans (18 percent) with a species of porcelain crab, Pisidia longicornis, and tunicates (5 percent) with the species Phallusia mammillataand Ascidia mentula. The main target species, Great Mediterranean scallop, was most abundant on collector Type II,with 28 individuals. From three types of experimental collectors used in the process of collecting larvae of shellfish and biofouling species, collector type-I and type-II proved to be a more suitable basis for receiving larvae of shellfish due to the unimpeded flow of sea water that allows their successful growth and development. Species Talochlamys multistriata, were found in great abundance and it could be good candidate to diversify the aquaculture production, thus potentially offering farmers an additional source of income.
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Peraš, Ines, Milica Mandić, and Slađana Nikolić. "Settlement patterns of molluscs, with particular reference on Great Mediterranean scallop (Pecten jacobaeus, Linnaeus) and biofouling organisms on different type of collectors and locations in Boka Kotorska Bay." Acta Adriatica 63, no. 1 (August 8, 2022): 9–26. http://dx.doi.org/10.32582/aa.63.1.1.

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The settlement of molluscs’ larvae of and other biofouling organisms on experimental collectors was studied, with particular reference Great Mediterranean scallop, Pecten jacobaeus. Three types of experimental collector made from vegetable sacks, modelled based on the collectors used in Japan, were placed in four existing fish and shellfish farms located in the Boka Kotorska Bay. The experimental collectors were placed in the periods June–October and June–December 2017 and the period August 2017–February 2018 and monitored after immersion of four to six months, respectively. In total, 18 species of molluscs and also 28 species of biofouling organisms were determined. The most abundant ones found on the collectors were the following shellfish species (68 %) Talohlamys multistriata, Mytilus galloprovincialis, Modiolarca sp., Anomia ephippium and Limaria hians. The most abundant group of biofouling organisms were crustaceans (18 percent) with a species of porcelain crab, Pisidia longicornis, and tunicates (5 percent) with the species Phallusia mammillataand Ascidia mentula. The main target species, Great Mediterranean scallop, was most abundant on collector Type II,with 28 individuals. From three types of experimental collectors used in the process of collecting larvae of shellfish and biofouling species, collector type-I and type-II proved to be a more suitable basis for receiving larvae of shellfish due to the unimpeded flow of sea water that allows their successful growth and development. Species Talochlamys multistriata, were found in great abundance and it could be good candidate to diversify the aquaculture production, thus potentially offering farmers an additional source of income.
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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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Dissertations / Theses on the topic "Porcelain, japanese – 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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Mikasa, Princess Akiko of. "Collecting and displaying 'Japan' in Victorian Britain : the case of the British Museum." Thesis, University of Oxford, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.669978.

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Books on the topic "Porcelain, japanese – collectors and collecting"

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Robert, Moes, Japan Society (New York, N.Y.). Gallery., New Orleans Museum of Art., and Honolulu Academy of Arts, eds. Modern Japanese ceramics in American collections. New York: Japan Society, 1993.

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2

Castelluccio, Stéphane. Collecting Chinese and Japanese porcelain in pre-revolutionary Paris. Los Angeles: The J. Paul Getty Museum, 2013.

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The wonderful world of Nippon porcelain: 1891-1921. West Chester, Pa: Schiffer Pub., 1992.

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The collector's encyclopedia of Nippon porcelain. Paducah, KY: Collector Books, 1986.

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Litts, Elyce. The collector's encyclopedia of geisha girl porcelain. Paducah, KY: Collector Books, 1988.

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Imari, Satsuma, and other Japanese export ceramics. 2nd ed. Atglen, PA: Schiffer Pub., 2000.

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Patten, Joan F. Van. Collector's encyclopedia of Nippon porcelain: Identification & values. Paducah, KY: Collector Books, 2002.

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Patten, Joan F. Van. Collector's encyclopedia of Nippon porcelain: Identification & values. Paducah, Ky: Collector Books, 2001.

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Patten, Joan F. Van. Collector's encyclopedia of Nippon porcelain: Identification & values. Paducah, Ky: Collector Books, 1998.

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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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Book chapters on the topic "Porcelain, japanese – collectors and collecting"

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Emery, Elizabeth. "Women Collectors of Japanese Prints: The 1909–14 Paris Expositions des estampes japonaises at the Musée des Arts Décoratifs." In Collecting Prints, Posters, and Ephemera. Bloomsbury Visual Arts, 2020. http://dx.doi.org/10.5040/9781501338526.0010.

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