Qing Porcelain Famille Verte Famille Rose 1644-1912 Beurdeley & Raindre 1987

Description: No dust jacket. Minor handling to covers with slight corner bumps. Few signs of use to pages except price in pencil on front flyleaf. OCR scan from the Introduction: 8 Shabite unr chambre aux porclainesUn palats dar es briliantOu l'imagination we plall."I live in a room of porcelain,A hard and shining palace,Where the imagination takes delight.Victor Segalen, EquipérThis is the fourth volume in a series of books on Chineseceramics, which includes Tang and Liao Ceramics by WilliamWatson. Song Ceramies by Mary Tregear and Ming Porcelainby Daisy Lion-Goldschmidt In deference to those authors, thisvolume has been called Qing Porcelain (pronounced "ching ).which is the logical title: however, had there becn no risk ofambiguity, we would have lavoured the title Manchu Porer-lain, which gives more strews to the fact that the dynasty thatcame to power in China in 1644-after the long reign ofthe authentically Chinese Ming dynasty (1368-1644)-watforeign. The "invaders' were the Manchus, who flike all theothers) came from the north. The country they conquered wasa profoundly troubled one, and they lost no time in employingtheir consummate ability to take in hand the cconomy andadministration of China.Within thirty years the Manchus had managed to sinicizethemselves, in the proper sense of the term, and to becomeas Chinese as the ancestral Han themselves. Two cmperors-Kangxi (who has been compared to Louis XIV ofFrance) and Qianlong (described by a Jesuit as 'the greatestpotentate in the universe and the best scholar in his fown]empire) -- won themselves a justifiable reputation as greatmonarchs. The Manchu Qing dynasty ruled over China fornearly three centuries: on 12 February 1912, its reign wasbrought to an end with the declaration of the Republic ofChinaIn the porcelain industry, as in many other areas of activity,the passage from one dynasty to another did not entail anyradical change. Consequently, the first few pages of this bookare devoted to the products that continued to be produced afterthe reign of Shunzhi, the first Qing emperor and into the firsttwenty years of Kangxi's reign (until 1682-3)-a perioddescribed by art historians as Transitional. After this crucialphase of *continuous evolution', we will go on to study theproduction of porcelain at Jingdezhen in its successive stagesand, most particularly, that of the imperial factory, which wasreconstructed from its ruins in 1682 or 1683. The descriptionof Father d'Entrecolles's visit there, given in his famous Lettresédifiantes, provides us with a very valuable first-handaccount.The Manchu emperors took a personal interest in theporcelain industry, encouraging initiative, but often alsoimposing their own tastes. Under the reign of Kangxi (1662-1722), an extraordinarily pure, bright sapphire blue made fromlocal cobalt oxides replaced the famous 'Mohammedan blue". 1 Group of merchantr in a porcelain shop pribubly in Gasnedens(Canton Watercolour on silk, ca. 1770. Bibbothequs Natshake. Pits(Oc. 104 RES., fol 38) with purplish reflectioni, of the Ming perne Chenew olan painters produced woniferfal eflects wich this seu cesusing it rithes as a wash or in bold beuol wnsnprodigious skdlle enabled (hem to eswuls a wldesubjoris in subile vhades of blue: venes of couh un4 mimperial audiences, episodes taken from celcbraet ofamiliar landscapes dilferent specics of flure end fuonsAlthough a simple crafsdian, the porcebin punserperiod followed intuntisely .- or rather, by traiknios.be ocipies established at the end of the fifth censury is the dnby Xie He. According to him, the basis of all artntie onis gryin. Qiyan is not a rule that can be leamol K it a gt fthe heavens, whence Bows a Fundameetal hirmsony betw"spiritual" and 'material' This metapyuicel conceptnot only art. bet also all the manpfeststions of natare R is hstin cold as well as in warmth, in a fine dry and in a ring dnrshade or in sunlightThe famille.verte ware, typlcal of the roigh of Kaogriderived from the wucgi ('five-colour ) decorscion of the previous dynasty. The impact of its cnaroels, Jorinavurious shades of green fverie green in Frenchi, the radgr slshapes and patterns, and the technical virtuosiry involerd an sproduction bear witness both to the ability of the mlrieemployed and to the dynamism of the stw manager ofimperial factory, Zang Yingsuan, Within this catepory. avery hard to determine the dividing line between wures medtfor the home markei and those intended for export ls tancxamples of famille-verte ware executed in obviouily Chseytaste appeared in European collections from the late seveteenth century onwards. During her brief reign, the ReiQueen Mary Il had a porcelain room designed by DuniMarot, the Dutch decorator fasbionable during the seoond hailof that century. Thete was another in the Oranienburg Palaee(restored in 1688 hy Frederick III, clector of Brandenburg andPrussia), which consisted of a vait salon decoraled watcabinets and pyramids of Chinese porcelaisThe imperial factory continued to flourish uader the reighof Yongrheng (1723-35) and Qianlong (1735-95) due afavourable economic conditions and to the enersy of its sessuccessive directors: Nian Xiyao (1726-35) and Tang Ving(until 1756). Sufficient Chinese documentary material ahogtthe latter has been preserved to enable us to devgte severalpages to Tang Ying, who was a renarkable man, and whecontinued to work industriously for many yearsIt was under these two men that famille rose wate made itsappearance and was developed; it owes its namc to thedecorators' preference for using a new enamcl, made from asolution of gold chloride and stannous chloride, which coaldproduce almost any shade of pink. The eggshell plates and

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