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Creator Nationality: Chinese
Creator Dates/Places: China
Creator Active Place: China
Creator Name-CRT: China, Jiangxi Province, Jingdezhen Kilns, Qing Dynasty, Kangxi Mark and Period
Title Type: Primary
View: Full View
Creation Start Date: 1662
Creation End Date: 1722
Creation Date: 1662-1722
Object Type: Decorative Arts and Utilitarian Objects
Classification Term: Ceramic
Materials and Techniques: porcelain with famille verte overglaze enamel decoration
Dimensions: Diameter: 20.7cm
AMICA Contributor: The Cleveland Museum of Art
Owner Location: Cleveland, Ohio, USA
ID Number: 1964.213.1
ID Number: 1964.213.2
Credit Line: Severance and Greta Millikin Collection
Context: The Jingdezhen kilns were slow to recover following the collapse of Ming imperial patronage and the Manchu conquest of China. In response to an investigation ordered by the Kangxi emperor in 1680, there was a new, imperially appointed superintendent of the kilns, along with new methods of organizing production. Certain kilns were selected to supply the palace, while a number of others continued to produce wares independently for the commercial markets. By the early eighteenth century, the imperial kilns--staffed by the finest artisans under a knowledgeable and experienced leader--were producing exceptionally fine pieces on a staggering scale. Among the greatest achievements of early Qing porcelain are table wares and display objects decorated with polychrome painting like this pair of dishes. Featuring birds perched in peach trees, the dishes are related to the famous birthday set commissioned for emperor Kangxi's sixtieth birthday in 1713. These pieces are more inventive than those in the 1713 set, however, since the unframed ornament is allowed to continue unbroken from the outer to the inner surfaces and back out again, thus transforming each vessel into a three-dimensional canvas. Recalling the bird and flower paintings of earlier dynasties, this form of porcelain decoration required the use of a range of naturalistic colors, not simply the blue, red, and brown available with underglaze methods of ornament. To broaden their palette, porcelain decorators turned to overglaze painting. As with earlier experiments in the Ming, Qing painters carefully painted designs in low-fire, lead-based glazes on top of undecorated but glazed porcelains that had already been fired to the required 1,200 degrees Celsius. After they were painted, the pieces were fired for a second time--to around 800 degrees--to set the glazes and fix them to the glazed surface. With sharp images in translucent colors on thin white bodies, porcelains such as these mark the final technical and aesthetic accomplishment of the Chinese ceramic tradition. K.W.
AMICA ID: CMA_.1964.213.1-2
AMICA Library Year: 1998
Media Metadata Rights:
Copyright, The Cleveland Museum of Art
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