Coral red glazed water bowl transformed into ink bottle, blue and white pen holder modified into lid cups, a pair of green glazed bowls, French craftsmen will buckle two bowls, add bronze gilded accessories, become incense... These Chinese porcelains, which were diplomatic gifts hundreds of years ago, have traveled far and wide, and through the hands of foreign craftsmen, they have gradually integrated into the European way of life, interior design and fashion trends.
Qingqianlong Jingdezhen kiln porcelain "blue glaze scratching flower bowl modified incense". Originally a pair of blue-glazed bowls, French craftsmen combined the two bowls and added bronze gilded attachments to transform them into incense.
Ming Chongzhen Jingdezhen kiln porcelain "blue and white Bogutu pen holder modification lid cup". Originally used as a pen holder, it was popular in the late Ming and early Qing dynasties. The outer wall is painted with blue and white Bogutu, depicting several cases, potted flowers, dings and so on. The outside of the pen holder is inlaid with gold-plated gold and silver fittings by British craftsmen, including a flap, a pair of handles and a base, turning the originally elegant blue and white pen holder into a gorgeous lid cup.
QingyongZheng Jingdezhen kiln porcelain "coral red glaze water bowl modified ink bottle". This ink bottle was commissioned by the American fashion celebrity Mona von Bismarck to design and customize, and its style has not changed after modification.
In the 18th century, Jingdezhen kiln porcelain "peacock green glazed Maitreya statue modified candlesticks" (a pair), inlaid by German craftsmen and converted into candlesticks. In the hands of European craftsmen, it can not only form a candlestick, but also serve as a decorative part of other utensils such as bells, incense sticks, and ink tables.
Cartier Paris 1928 "Courtyard Lady Picture Makeup Box". A variety of precious stones and treasures are inlaid into the picture on the lid of the box: in the corner of the courtyard, a woman is smiling lightly, sitting on the stone table with a fan in her right hand, and the bottle on the table is lined with white plums, followed by pine and cypress bamboo branches, with exquisite craftsmanship, but there is no porcelain.
On October 28th, the Shanghai Museum cooperated with the Asian Art Museum in Kyrgyzstan, France, and jointly held the "East-West Convergence - China-Europe Ceramics and Cultural Exchange Special Exhibition" jointly held by 12 well-known museums and collection institutions from 7 countries, and Shangbo told the sino-European trade and cultural exchanges in the early globalization with a new perspective and curatorial concept, bringing together 206 (groups) of heavyweight Chinese and foreign ceramics and oil paintings, and striving to create an exhibition that takes into account both academic context and viewing interest.
Divided into three chapters, the exhibition uses ceramics as a medium to explore world trade and cross-cultural exchanges at that time.
Jingdezhen kiln porcelain "blue and white tangled branches peony pattern pot", in the Yongle and Xuande periods, these official kiln blue flowers with Zheng He's Western fleet crossed the ocean, as diplomatic gifts to the gentiles, played an important role in the Ming court's foreign exchanges. In 1547, Baron François de Fimeler brought this precious blue and white porcelain from the Chinese court to France as a temporary diplomatic envoy to Constantinople to meet Suleiman I of the Ottoman Empire. Twice as a diplomatic gift, this pot has witnessed China's exchanges with the Middle East, and once again through the hands of diplomatic envoys, connecting the Middle East and Europe, which is very legendary.
Qing Kangxi Jingdezhen kiln porcelain "glaze red plus color swordsman lion picture bottle", glaze painting was added by Dutch Delft craftsmen. The abdomen of the gall bottle was originally painted with three lions in the glaze, with blue flowers and flowers, and the rest were left white. Post-Dutch porcelain dealers asked painters to add ornaments to the bottle to conform to European aesthetics. The painter adds three men dressed in pink and purple robes to the lions, slashes the lion with swords, and fills the gap with flowers and trees, and its color scheme, subject matter, composition and painting style all imitate the Japanese kaki right guard gate style.
Ming Hongzhi - Zhengde Jingdezhen kiln porcelain "blue and white tangled branches peony pattern bowl". This bowl is typical of mid-Ming dynasty trade porcelain, similar to that seen in Giovanni Bellini's Feast of the Gods in 1514.
William Calf's oil painting Still Life: Fruit, Glasses and Porcelain Lid Bowls. The blue-and-white lid bowl in the painting may have been used as a sugar jar. This lid bowl and carpet are imported from the Orient, and many mid-17th-century still life paintings present such a combination, which are all the rage in the Netherlands.
"Blue and white appliqué eight immortals cover bowl", cover bowl plaster plastic two groups of eight immortal statues, this decorative technique was particularly popular in the late Ming Dynasty. As in the picture above, the blue and white lid bowl is the same, and the eight immortal figures have colors, and it is speculated that the exposed tire may be a follow-up color.
This is the exhibition project with the widest participation area and high exhibition specifications in the international museum industry since the outbreak of the epidemic, and it is a wonderful case of global museum strength and international cooperation under the epidemic.
German Meissen porcelain "painted Chinese male musician portrait". The Chinese male musician on the right is like a typical "Chinese style" porcelain sculpture, with a slender beard, a tapered hat, and a loose bottoms that are all "Chinese symbols" in the eyes of Europeans at that time. However, the female musician's revealing dress, unrestrained posture, three-dimensional facial features, and the musical instruments used are far from the actual image of the Chinese at that time, which is an abstract Oriental element, a figurative Western detail, and an exotic style constructed by imagination.
Restoration of the dome of the porcelain hall of the Palazzo Santos using 3D reconstruction techniques. Nearly 300 pieces of Chinese porcelain are inlaid on the pyramid-shaped ceiling of the porcelain hall of the Palazzo Santos in Portugal, reflecting the beauty of innovation and fusion of Baroque art.
Dutch Delft tin glazed pottery "color glazed pottery Chinese and American figure figure wall tiles". The Guanyin figure on the wall tiles is from the 17th-century Suzhou "Journey to the West" layout, showing that Chinese prints were once circulated in the Netherlands, and were also used by European potters as a source of inspiration for decorative motifs. The Native American figure in the painting is an illustration from Arnoldes Montanus's book The New and the Unknown. The painters who painted the wall tiles combined Chinese images with the indigenous images of South America, reflecting the imagination and interpretation of exotic lands by Europeans at that time.
Column Editor-in-Chief: Zhang Chunhai Text Editor: Zhang Chi
Source: Author: Jiang Diwen