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In over 700 specially taken colour photographs a wide range of imperial and regional, decorative and practical, export and domestic, ceremonial and funerary wares are fully represented, organized into chronological sections, from the Neolithic to the end of the Qing dynasty, each accompanied by a survey of the period and detailed descriptions of the pieces illustrated. Systematic study of Chinese ceramics, begun in the eighteenth century, was greatly enlarged in the twentieth century, and extensive excavations at kiln sites have yielded invaluable new insights into the chronological development of ceramic forms, glaze types and decorative styles. Drawing on the extraordinary collection housed in the Asian Art Museum of San Francisco, this remarkable book cites the latest scientific and archaeological evidence, examining provenance, technique, archaeological and historical context, and ancient traditions of Chinese connoisseurship and patronage to provide an integrated and highly detailed approach to the subject. The notes on the plates are further illustrated with photographs of base marks, a vital aid in the identification process. An important reference section includes a glossary of technical terms, complete with Chinese characters; a bibliography; and lists of major public collections.

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The decorative details on Chinese porcelain are admired especially for their striking beauty, but the symbolic language hidden within them is less well-known in the West. From the very beginning until today Chinese culture has encompassed an enormous wealth of symbolic motifs, not only as ceramic decorations but also in painting, on textiles and varnished objects. Motifs bringing good luck like colours and numbers, mythical beings, animals and plants represent the striving for cosmic harmony, health and beauty, a long life, wealth, a happy marriage and numerous male descendents. In the ‘reading’ of the corresponding meaning there is a pro-cess of interaction between the viewer and the object. The intellectual playfulness and the pleasure of deciphering are traditionally an important element of the appreciation of art in China.
This publication shows around 80 masterpieces spanning 1000 years. They belong to the internationally significant collection of Chinese ceramics at the Keramiekmuseum Princessehof, the Dutch National Museum of Ceramics. The ‘hidden’ meanings of these objects’ symbols have been explained and interpreted for the first time. An indispensable reference book that not only presents the most important and interesting Chinese porcelain objects from the Princessehof collection, but also constitutes a ‘handbook’ of Chinese symbols and visual imagery.
What is the meaning of Yin and Yang, dragons, the phoenix and the Peaches of Immortality? Why is the lotus a symbol of Buddhism and a couple of mandarin ducks a wish for a happy marriage? What is the meaning of bamboo, pine and plum, the ‘Three Friends of Winter’? This publication reveals the secrets of the symbols of good luck and the visual imagery of Chinese decorative elements by means of around 80 masterpieces of Chinese porcelain spanning 1000 years.
Exhibition “10.000 x Happiness“ at the Keramiekmuseum Princessehof, Leeuwarden/the Netherlands, until 30.10.2011
 

Chinese ceramics are among the most widely admired and collected in the world. From elegant Song celadons to decorative Ming vases and colourful Qing famille rose,ceramics produced in China have influenced taste and daily life globally. This new design history draws on the V&A’s comprehensive collection to look at the production, consumption, aesthetics and transfer of Chinese ceramics.

Stunning new photography illustrates over 200 pieces, including previously unpublished objects. It also explores ceramics made in the twentieth and twenty-first centuries, from Republican period porcelain to propaganda ware and studio potery, a first survey for history of the subject.
 

This beautiful book tells the story of Chinese ceramics exported to Europe, the Middle East and South-east Asia through the V&A’s extensive and celebrated collection. Chinese Export Ceramics illustrates the extraordinary range of styles and decorative patterns of Chinese export porcelain, the integration of European and Middle-eastern shapes and designs, and the circulation and uses of exported objects in Europe, the Middle East and South-east Asia. Superb new photography reveals over 200 stunning pieces, dating from the fourteenth to the nineteenth centuries. This new book will appeal to both the academic and general reader.
Rose Kerr was Former Keeper of the Far Eastern Department at the V&A. Luisa E. Mengoni is a Curator and Ming Wilson is a Senior Curator in the Asian Department at the V&A.
 

Sir Percival David made one of the finest collections of Chinese ceramics outside Asia. It includes many items of imperial quality, with beautiful examples of extremely rare Ru and guan wares as well as the famous David vases. Their inscriptionsdate to 1351, making them an internationally acknowledged yardstick for the dating of Chinese blue and white porcelain. Here are 50 selected highlights, all illustrated with colour photographs taken especially for this publication. The accompanying text provides details and draws out the important features of each piece. The range and scope of the collection providethe material for a stunning overview and accessible introduction to Chinese ceramic art.

 

The present publication represents the first detailed survey of the development of Japanese export porcelain against a highly charged background of political, economic and cultural factors. Stylistic development in Japanese ceramics did not mean one-sided Westernisation; instead, inspiration went both ways, most notably in the impact made by Japanese art on Art Nouveau/Jugendstil and, ultimately, the Japanese aesthetic response to it This is the first complete survey of Japanese export porcelain from the Meiji era to be published in English a benchmark standard work for specialists and an insider tip for lovers of porcelain and anyone interested in Art Nouveau and Japan..

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After more than 20 years since the Gulbenkian's Iznik pottery catalogue was published comes this book celebrating the impressive decorative repertoire and the great diversity, quantity and quality of Ottoman ceramic ware gathered by Calouste Sarkis Gulbenkian.

A selection of 80 representative objects of the various production periods from the beginning of the 16th century to the industry decline in the 17th century are presented, including tiles from Ottoman Turkey. After a brief history of the collection, the book introduces the various types of ware according to decoration, taking into account chronological criteria. The second part, which is dedicated to tiles, deals with large panels, frieze and border tiles, most of which are on permanent display.

Calouste Gulbenkian's first acquisitions as a collector of Ottoman ceramics were four fritware dishes from Iznik that he bought in 1898 at Christie's in London, two of which are of the highest quality, decorated over a scale background. During the following 40 years, Gulbenkian gathered at a constant pace the remaining pieces making up this important group, which also includes the magnificent ceramic tile panels.

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George Ohr (1857-1918) was the most revolutionary art potter of his time. Working in the relative isolation of Biloxi, Mississippi, around the turn of the century, he transformed symmetrical wheel-thrown pots into unprecedented abstract configurations, nearly half a century before the nonrepresentational ideas of the Abstract Expressionists took hold. As an artist, Ohr's goal was to make no two pieces alike. Furthermore, he fulfilled the ideal of the Arts & Crafts movement by doing all of his own work - from digging the clay to firing the kiln. Ohr's eccentric forms and flamboyant personality led to his being dubbed The Mad Potter of Biloxi, but in fact he was an American icon of creativity. Today, his unique works are highly regarded and sought out by collectors and museums all over the country.

This exquisitely designed volume contains over 300 unpublished works by Ohr, and features all new photography accompanied by an accessible text. The clarity and number of illustrations will make this book the new essential reference on this extraordinary artist.

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