Poetry in decoration of the Chinese porcelain of the late Qing dynasty (1644-1911)

Figure

v

Separate

Fig.2.1.4

Vase

Self-inscribed

Noble spirit

Antiquarian

v

Separate

Fig.2.1.6

Plaque

Self-inscribed (not the painter)

Fishing and drinking

Landscape

v

Together

Fig.2.1.8

Plaque

Eight-front strategy by Du Fu, Tang poem

Three Kingdoms

Figure

v

Together

Fig.2.1.9

Plaque

By Weng Chengzan, Tang

Reading

Figure

v

Together

Fig.2.1.10

Vase

Self-inscribed

Daoism

Bird-and-flower

Separate

Fig.2.1.11

Vase

Self-inscribed

Life in the mountains

Landscape

v

Together

Fig.2.1.12

Vase

Mountain Trip by Du Mu, Tang

The scenery in the mountains

Landscape

v

Separate

Fig.2.1.13

Vase

Self-inscribed

Beauty

Figure design

v

Separate

Fig.2.1.14

Vase

View of Tianmen Mountains by Li Bai, Tang

Natural scenery;

Landscape

v

Together

The Two Qiaos reading books by Fang Xiaoru, Ming

Worry about country

Figure

v

Fig.2.1.15

Cap stand

Self-inscribed

Admiring flowers

Figure

v

Together

Fig.2.1.16

Cap stand

By Shi Dazu, Song;

By Wang Anshi, Song;

Zheng Banqiao, Qing

Worry about country

Bird-and-flower

Separate

Fig.2.1.17

Cap stand

By Pi Rixiu, Tang

Peony

Bird-and-flower

v

Separate

Fig.2.1.19

Flowerpot

Lantingji Xu by Wang Xizhi, Jin

Natural scenery

Figure

v

Separate

Antiquarian

Fig.2.1.20

Flowerpot

Self-scribed

Spring

Bird-and-flower

v

Separate

Fig.2.1.21

Brush holder

Mountain Trip by Du Mu, Tang

The scenery in the mountains

Figure

v

Separate

Bird-and-flower

Fig.2.1.22

Brush holder

Lantingji Xu by Wang Xizhi, Jin

Natural scenery

Figure

v

Separate

bird-and-flower

Fig.2.1.23

Water jarlet

By Zhang Ketao, Qing;

Liu Yuxi, Tang

Noble spirit

Figure

Separate

Fig.2.1.24

Palette case

Spring Dawn by Meng Haoran, Tang

Spring

Bird-and-flower

v

Together

Fig.2.1.25

Jar

Spring Dawn by Meng Haoran, Tang

Spring

Bird-and-flower

v

Separate

Fig.2.1.26

Jar

By Weng Chengzan, Tang

Reading

Figure

v

Separate

Fig.2.1.27

Jar

By Weng Chengzan, Tang

Reading

Figure

v

Separate

Fig.2.1.28

Jar

By Du Mu, Tang

The three kingdoms

Figure

v

Separate

Fig.2.1.29

Jar

By Weng Sen, Song

Spring

Bird-and-flower

v

Separate

Fig.2.1.30

Food warmer

By Wang Wei, Tang

Life in seclusion

Figure

v

Separate

Fig.2.1.31

Plate

Visiting a Friend's Farmhouse by Meng Haoran, Tang

Rural life

Figure

v

Together

Fig.2.1.32

plate

Self-inscribed

Natural scenery

Landscape

v

Together

Fig.2.1.33

Stem dish

Self-inscribed

longevity

Bird-and-flower

v

Together

Fig.2.1.35

basin

Self-inscribed

longevity

Bird-and-flower

v

Separate

Fig.2.1.36

basin

By Du Qiuniang, Tang

To cherish youth and time

Figure

v

Separate

Fig.2.1.37

bowls

By Wang Wan, Tang

Rural scenery

Landscape

v

Separate

Fig.2.1.38

teapot

Lantingji Xu by Wang Xizhi, Jin

Natural scenery

Landscape with figures

v

Separate

From table 2 following information can be drawn:

1. The main sources of poetry applied on Qianjiang porcelain are extensive, comprising all classic literary work from the ancient Classic of poetry to poems of Qing dynasty. Tang poems were the most frequently quoted, Song poems were the second. In addition, there are a lot of self-inscribed poems, which reflects the high literary accomplishment of Qianjiang porcelain painters.

2. The themes of inscribed poetries on Qianjiang porcelain are various, from auspicious wishes, folktale, daily life to seclusion, natural scenery and spirit pursuit, comprising all themes that the ordinary people and the literati like.

3. About the relationship between poetry and painting on Qianjiang porcelain. When the poetry and the painting are on one side, poetry is included in the painting following the format of Chinese painting, they are related with each other. When the poetry and painting are on different sides separately, then they may connect with each other, or have no connection. The situation that they on different sides but echo each other can trace back to the Changsha ware (e.g. fig.1.2.4) and Cizhou ware (e.g. fig.1.2.5).

For situation that they on different sides and have no connection with each other, the paintings are mostly bird-and-flower painting, antiquarian painting and figure painting.

From the table 2 it can be noticed that many bird-and-flower paintings and antiquarian paintings are not associated with inscribed poems. It demonstrates that still life and bird-and-flower painting usually play the role of decorative design. In addition, when a poem is related to a bird-and-flower painting, there are usually two possibilities about the subject of the poem, one is auspicious meaning (e.g. fig.2.1.33, 2.1.35), for birds and flowers always have auspicious or spiritual connotation. The other one is about spring (e.g. fig.2.1.17) or flowers and birds (e.g. fig.2.1.20, 2.1.24, 2.1.25, 2.1.29).

As for landscape paintings, as the most traditional genre of literati painting, they are always connected to the inscribed poetries, even if they are separated on different sides. From the inscribed poetries, it can be known that the landscape painting can be used to express the fondness of the artist for natural scenery, the admiration for the silent life in the mountains, the tiredness of secular life.

As for figure paintings, the situation that painting and poetry have no relation generally only exists in the paintings with the object of a lady or ladies without narrative background (e.g. fig.2.1.23). In this occasion the human figure is just a figure design as a kind of pattern. Most figure paintings on porcelains are narrative painting, that's to say the subject matters of paintings and poetries all derive from classic stories or history (fig.2.1.8, 2.1.28).

4. According to one poetry, different artist may create totally different paintings from different perspectives (e.g. fig.2.1.19&2.1.22, fig.2.1.12&2.1.21). This reflects the personal freedom on artistic creation, the painters didn't need to follow a fixed composition, they can create their own works according to their own feelings and emotions.

It seems that there is no such rule on the application of poetry in Qianjiang painting. The application of poetry on Qianjiang wares looks rather random, but actually application poetry on Qianjiang porcelain is not a disorderly chaos, it is the result of the comprehensive influence of the intrinsic characteristics of painted porcelain decoration and the invasion of literati painting. Every application can be traced back either to previous porcelain or to literati painting.

As for the differences between Qianjiang porcelain and previous porcelain, the most obvious feature is the reduction in the application of ceramic patterns. In most instances the decoration of a Qianjiang porcelain ware only includes painting in the style of literati painting and calligraphy. Qianjiang wares was no longer decorated with decorative patterns on traditional porcelains, which were totally covered with patterns or were decorated with medallion design or with paintings imitated after traditional woodcut painting. The decoration of Qianjiang painting draws on the rules of composition and arrangement, combines poetry, calligraphy, painting and seal. �Taoye Tushuo� recorded the situation of painting cobalt in the early period of Qing dynasty, the process of drawing, dyeing, lining and sealing were completed by different specific craftsmen. Wang Tiezhu. Qianjiangcaidebianweiyushoucang [dz筲ʵı�α���ղ�](Identification and Collection of Qianjiang Ware)-. Beijing: Chinese Bookshop. 2011.10, 14 While the poetry, calligraphy, painting, and seal were generally completed by one person, unlike the fine division of labor of traditional productive procedure. Qianjiang porcelain painters didn't repeat others samples but created their own works out of his own inspiration, feeling and emotion.

The differences between Qianjiang porcelain painting and literati painting besides the material lie in three aspects. Firstly, the literati painting is a plain, but Qianjiang wares are not. Calligraphy in literati painting is always a part of the composition, but calligraphy and painting on porcelain wares can be separate on different sides. The phenomenon that calligraphy and painting are on different sides can trace back to the Tang dynasty. Secondly, the themes of Qianjiang painting and poetry comprise that of literati painting and that of previous porcelain. So, some themes of Qianjiang porcelain are not included in traditional literati painting. Thirdly, there are some porcelain wares on which painting and poetry have no connection with each other. This is impossible for literati painting. But this is common in ceramic arts. Calligraphy and painting can be separate independent decorative elements, even if they are on one piece of porcelain. So, every phenomenon that contradicts literati painting has its tradition in porcelain painting.

Poetry on Qianjiang porcelain not only plays an aesthetic role as part of the decoration or a part of painting, but it also has more important functions when it is connected to porcelain painting. From the perspective of artistic creation, poetry provides painting themes and brings creative inspiration. This refers to the quoting of famous poetries. For example, the plate mouth vase with two elephant handles (fig.2.1.14) is decorated with a landscape painting according to the content of the inscribed poem View of Tianmen Mountains by Li Bai. Li Bai's passionate verses vividly depict a magnificent landscape, which inspired the painter to draw down the scenery he associated with.

From the perspective of artistic effect, it supplements the painting content, echoes the plot of the painting, points out the painting theme, reveals the thoughts and feelings of the characters, and expresses the author's thoughts and feelings. For example, the main idea of a landscape painting has to be conveyed by means of verse, otherwise a landscape can be interpreted as the admiration of the nature, the life in seclusion or the blessing of longevity.

Hence, the application of poetry in the decoration of Qianjiang wares is worth to be focus on. When a poetry is well applied on porcelain, poetry and painting complement each other, the artistic effect will be greatly enhanced. The principles of Qianjiang porcelain collection, according to Cheng Hao, have two aspects, the first one focus on the porcelain ware itself, comprising its completeness, size, and function. the second one focus on the Qianjiang porcelain painting. When evaluating artistic value of porcelain painting, �generally, from the aspect of theme, landscape painting is better than figure painting, figure painting is better than bird-and-flower painting, bird-and-flower painting is better than antiquarian painting. From the perspective of function, the objects of scholar's studio are better than household utensils, tea or wine utensils are better than folk utensils, gift porcelain is better than daily-used wares. From the perspective of painting technique, generally speaking, creative painting is better than craftsman painting, freehand painting is better than sketch painting, sketch painting is better than copy painting.�Cheng Hao. Ciqishangdewenrenhua[�����ϵ����˻�]Chinese Literati Calligraphy and Painting on Porcelain.-Guangzhou: Lingnan Fine Arts Publishing House. 2017. P27Porcelain.-Guangzhou: Lingnan Fine Arts Publishing House. 2017. P27

The application of poetry has not been mentioned on the evaluation criteria, but In my opinion, when appreciating and evaluating a piece of Qianjiang porcelain, in addition to the quality of clay body, its form, glaze, and enamel, date, and manufacturer, the painting technique and style, more attention should be paid to the skill of calligraphy and the application of inscribed poetry. The interrelationship between painting with superb skills and superior self-inscribed poem should be the highest pursuit of a Qianjiang porcelain since it represents the highest accomplishment in the art of poetry, painting, and calligraphy.

Conclusion

Poetry, painting and their interrelationship have played important roles in the developing process of Chinese ceramics. With the deepening of the participation of calligraphy, poetry, and painting in Chinese porcelain decorative art, Chinese porcelain has different decorative features at different stages.

In the Tang dynasty, poetry was first applied to the painted decoration of ceramic wares produced by Changsha kiln. Xiao Xiang, Ciqishangdeshifenyuhuihua [�����ϵ�ʫ����滭] (Poetry and painting on porcelain)- Changsha: Hunan Fine Arts Publishing House. 2006, 5 Inscribed poems on Changsha wares were an entire poem comprising twenty to twenty-eight characters, most are in the semi-cursive script. The themes of poems were closely related to every aspect of the daily life of ordinary people. Emerged the first ceramic wares which combined poetry and painting (fig.1.2.4).

In the Song dynasty, there were more forms of inscribed poetry, besides Tang poems, Ci, Qu, Fu were also seen in the painted decoration of Cizhou wares, characters on porcelain could be more than a hundred. Poetry became a main decorative element, often combined with pottery patterns, sometimes combined with painting and patterns. But porcelain with painted decoration in this period was only popular in folk. Pan Jun Cizhouyao"cishiwenhua"pingxi [����Ҥ"��ʫ�Ļ�"����] (Cizhou ware"The poetry culture on ceramic" analysis) -Wenbo magazine office, 2008 The theme and subject matter of paintings on porcelain became more diverse and various.

Poetry was seldom applied to the decoration of porcelain during the Yuan and the Ming dynasties. The Chinese Ceramic Society, Zhongguotaocishi, [�й��մ�ʷ] (The history of Chinese ceramics) -- Beijing: Cultural Relics Publishing House, 1982, 338 Till the end of the Ming dynasty, the blue and white porcelain began to be decorated with poetries Xiao Xiang, Ciqishangdeshifenyuhuihua [�����ϵ�ʫ����滭] (Poetry and painting on porcelain)- Changsha: Hunan Fine Arts Publishing House. 2006, 167, mostly in clerical script, mainly accompanied by landscape painting or painting with figures. The decorative function of porcelain was enhanced.

During the reigns of emperors Kangxi, Yongzheng and Qianlong of the Qing dynasty, porcelain achieved unprecedented development, so did the application of Poetry in the decoration of porcelain. In this period the combination of poetry, calligraphy, painting, and seal in the porcelain decoration has already well-developed. While the development benefited from the emperor's love of porcelain and was also subject to the emperor's taste, seriously influenced by the personal preferences of the monarch. Poetry was selected or composed by the emperor and mostly orderly written in clerical, semi-cursive or regular script. Chen Peijie, Yongzhengtijufalangcaicidetuwenguanxiyanjiu [Ӻ����䷩�Ųʴɵ�ͼ�Ĺ�ϵ�о�] (Research of the Relationship Between Text and Images of Yongzheng Enamel) -- 2012 Themes of poetry and painting were under the control of the emperor. All porcelains were completed in accordance with the instructions of the emperor.

The situation of Qianjiang porcelain is totally different. Qianjiang porcelain painter is an artist rather than a craftsman. Get rid of traditional production procedure and given patterns The Chinese Ceramic Society, Zhongguotaocishi, [�й��մ�ʷ] (The history of Chinese ceramics) -- Beijing: Cultural Relics Publishing House, 1982, 148, Qianjiang porcelain painters became individual artists and the form of literati painting was completely transplanted to porcelain.

Through the study of the application of poetry in the decoration of Qianjiang porcelain, the following findings and conclusions are drawn:

1. Poetry is not a fixed component of an inscription of Qianjiang ware.

2. Poetry is inscribed on the obvious and convenient area of Qianjiang ware. The concrete position is related to the form of ware. Painted decorations of plates, dishes, and basins main are on the inner surface, and basins have inscriptions on their wide rim.

3. Inscribed poetries are mostly in the semi-cursive script; other scripts can also be seen.

4. The length and arrangement of poetry are associated with the size and the form of the porcelain ware and the composition of the painting. Poetries are written in vertical columns and are read from top to bottom, and from right to left. The number of characters in a row is not required.

5. The main sources of poetry applied on Qianjiang porcelain are extensive, comprising all classic literary work from the ancient Classic of Poetry to the then contemporary work. The options are much more abundant than the Tang and Song Dynasties and the early Qing Dynasty. In addition, the number of self-inscribed poetry increased a lot, which reflects the high literary accomplishment of Qianjiang porcelain painters.

6. The theme and subject matter of poetry is more abundant than before. It not only includes those themes which are popular among ordinary people but also has themes of literati painting.

7. Poetry and painting on Qianjiang wares do not always relate with each other. They can function as separate decorative elements, like the patterns on traditional porcelain. Landscape paintings are almost always related to the inscribed poetries.

8. Poetry on Qianjiang porcelain not only plays an aesthetic role as part of the decoration or a part of the painting, but it also has more important functions when it is connected to porcelain painting. From the perspective of artistic creation, poetry provides painting themes, causes creative inspiration. From the perspective of artistic effect, it supplements the painting content, echoes the plot of the painting, points out the painting theme, reveals the thoughts and feelings of the characters, and expresses the author's thoughts and feelings.

9. The diversity of application poetry on Qianjiang porcelain is not disorderly chaos, it is the result of the comprehensive influence of the intrinsic characteristics of painted porcelain decoration and the invasion of literati painting. Every application can be traced back either to previous porcelain or to literati painting.

This dissertation expounded the relationship of poetry and painting in Chinese painting, traced the history of the application of poetry in the decoration of ceramic wares, introduced the forms and decorations of Qianjiang ware with examples, generalized the application of poetry in the decoration of Qianjiang ware and analyzed the uniqueness of the application of poetry in the decoration of Qianjiang ware by comparing it with previous porcelains and literati painting. Thus, the application of poetry on Qianjiang porcelain has been innovatively researched both microscopically and macroscopically.

But there are still some issues that this dissertation doesn't touch, such as the influences of an artist's personal preference for the application of poetry in the decoration of Qianjiang porcelain. Since Qianjiang porcelain painters are well-educated literati, their work must have personal characteristics. Maybe by analyzing a number of works by a distinguished Qianjiang porcelain painter his personal characteristics and preference for the painted decoration of Qianjiang wares could be observed.



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Attachment

List of illustrations.

Fig.1.2.1

Banpo basin with human face and fish designs. Banpo type (ca. 4800-3900 BCE), Yangshao Culture, Neolithic Era.H. 16.5 cm Mouth Dia. 39.8 cm.National Museum of China, Beijing

Fig.1.2.2

Ceramic zun with large mouth. Dawenkou culture (3500 - 2500 BC). Juzhou museum, Rizhao



Fig.1.2.3

Eave tile with auspicious phrases. Qin dynasty (221 - 201 BC). Unearthed in Xi'an city, Shanxi province

Fig.1.2.4

Jar painted with figures of Seven Sages of the Bamboo Grove and a poem. Changsha kiln. Tang dynasty (618-907). Changsha museum, Changsha



Fig.1.2.5

Pillow with black painting and poetry decorations on white ground. Cizhou kiln. Jin dynasty (1115 - 1234). H. 14.5 cm Dia. 29.5 cm W. 14.5 cm. Cizhou kiln museum, Handan

Fig.1.2.6

Square Cizhou-type stoneware wine flask. Cizhou kiln. Circa. 1280-1398 (Yuan - Qing dynasties). H. 43 cm Dia. 11.2 cm W. 37 cm. British museum, London

Fig.1.2.7



Blue-and-white vase painted with landscape. Jingdezhen ware. Chongzhen period (1639), Ming dynasty. H. 48.8 cm. Private collection

Fig.1.2.8

Set of wine cups with flowers of the twelve months. Jingdezhen ware. Qing Dynasty (1368-1644), Kangxi period (1662-1722). H. 4.9 cm, Mouth Dia. 6.7 cm, Foot Dia. 2.8 cm. Tianjin museum, Tianjin

Fig.1.2.9

Blue and White and Copper Red brush holder decorated with Shengzhu De Xianchen Song. Jingdezhen ware. Kangxi period (1661-1722), Qing dynasty. H. 16.2cm, Mouth Dia. 19.4cm, Foot Dia. 19.2cm. Palace Museum, Beijing

Fig.1.2.10

Bowl with decoration of plum blossoms. Jingdezhen ware. Yongzheng period, Qing dynasty. H. 6.8 cm, Mouth Dia. 14.1 cm. National Palace Museum, Taipei

Fig.1.2.11

Yangcai Vase with Beautiful Landscape Painting and Imperial Poem. Jingdezhen ware. Qianlong period (1736-1795), Qing dynasty. H. 19.1 cm. Private collection



Fig.1.2.12

Falangcai vase decorated with landscape painting and poems in medallion design. Jingdezhen ware. Qianlong period, Qing dynasty. H. 26 cm Mouth Dia. 12.1 cm Foot Dia. 12.1cm. Palace museum, Beijing

Fig.2.1.1

A thatched house in green landscape, plaque. By Cheng Men. Dated the 13th year of Guangxu Reign (1887). L.47 cm W. 34 cm. Private collection



Fig.2.1.2

Mallet vase painted with the theme of �longevity�. By Yu Ziming. Dated the 29th year of Guangxu Reign (1903). H. 33 cm. Private collection

Fig.2.1.3

A pair of cap stands with openwork design and painted with bird and flowers. By JinPinqing. Dated the 12th year of Tongzhi Reign

Fig.2.1.4



Vase with animal-mask ears and antiquarian painting. By Xu Pinheng. Dated the 30th year of Guangxu Reign (1904). H. 46 cm. Private collection

Fig.2.1.5

Landscape alongside the Xin'an River, Plaque. By Cheng Men. Dated the 7th year of Guangxu Reign (1881). L. 40 cm W. 30 cm. Private collection

Fig.2.1.6

Drunk fishing in the lake, plaque. By Li Guzhen, etc. Dated the 12th year of Guangxu Reign (1886). L. 46 cm W. 36 cm. Private collection

Fig.2.1.7



A light-vented bulbul and peonies, plaque. A gift from Zhang Haifan. Dated the 16th year of Guangxu Reign (1890). L, 40.5 cm W. 30.5 cm. Private collection

Fig.2.1.8

A third visit to the hut, round plaque. By JIn Shan. Dated the 29th year of Guangxu Reign (1903). Dia. 28.5 cm. Private collection

Fig.2.1.9

Two reading ladies, plaque. By Xiaoshan Shi. Dated Guangxu Reign (1875-1908). L. 39 cm W. 26 cm. Private collection



Fig.2.1.10

Cong-shaped vase painted with birds and flowers. By Wang Fan (1843 - 1923). Dated: unknown. H. 14 cm. Private collection

Fig.2.1.11

Cong Vase painted with pine trees. By Cheng Yan. Dated Guangxu Reign (1875-1908). H, 30 cm Mouth Dia. 9.5 cm. Private collection

Fig.2.1.12

Four-sided vase painted with a red-leave tree and autumn mountain. By Cheng Men. Dated Guangxu Reign (1875-1908). H. 10.5 cm. Private collection

Fig.2.1.13

Guanyin vase painted with four beauties. By Hong Yishun. Dated the 25th year of Guangxu Reign (1899). H. 44 cm. Private collection

Fig.2.1.14

Plate mouth vase with two elephant handles painted with Tianmen Mountain and clear water. By Lei Hongzhang. Dated the 12th year of Guangxu Reign (1886). H. 54 cm Dia. 19 cm. Private collection

Fig.2.1.15



A pair of cap stands painted with a lady appreciating a flower. By Bao Wen. Dated the 24th year of Guangxu Reign (1898). H. 27.5 cm, Dia. 12 cm. Private collection

Fig.2.1.16

A pair of square cap stands painted with birds, figures and poetry. By Cheng Huanwen. Dated the 8th year of Guangxu Reign (1882). H. 28 cm Dia. 10 cm. Private collection

Fig.2.1.17

Six-sided cap stand with openwork design and painted with bird and peonies. By Qi Ming. Dated the 24th year of Guangxu Reign (1898). H, 27 cm Dia. 12 cm. Private collection\



Fig.2.1.18

Cap stand with openwork design and painted with a hermit worshiping stone. By Wang Shaowei

Dated the 2nd year of Tongzhi Reign (1863). H. 27.8 cm. Private collection

Fig.2.1.19

Pot for narcissus painted with figures and elegant objects. By Yan Xiaoyun. Dated the 29nd year of Guangxu Reign (1903). H. 8 cm L. 22 cm W. 15 cm. Private collection

Fig.2.1.20



A pair of flowerpots painted with a bird and peonies. By Futai Shi. Dated the 29th year of Guangxu Reign (1903). H. 17.5 cm Dia. 23.5 cm. Private collection

Fig.2.1.21

Brush holder painted with a reading old man after the meaning of Du Mu's poem. By Jiang Ziyu

Dated the 14th year of Guangxu Reign (1888). H. 12 cm Mouth Dia. 6.5 cm. Private collection

Fig.2.1.22

Brush holder painted with figures and a bird. By Cheng Men. Dated: 19th century. H. 15.2 cm Dia. 11.5 cm. Private collection



Fig.2.1.23

A pair of water jarlets painted with a beauty in autumn. By Luo Yanggu. Dated the 6th year of Guangxu Reign (1880). H. 8 cm Side L. 6.8 cm. Private collection

Fig.2.1.24

Palette case painted with bird and flowers in spring. By Zhu Shaoquan. Dated the 20th year of Guangxu Reign (1894). H. 6.5 cm Dia. 13.5 cm. Private collection



Fig.2.1.25

Covered jar painted with a bird and flowers in spring. By Yimao. Dated the 17th year of Guangxu Reign (1891). H. 17 cm Dia. 18.5 cm. Private collection

Fig.2.1.26

Jar painted with figures. By Zhou Xiaosong. Dated the 29th year of Guangxu Reign (1903)

H. 29 cm. Private collection

Fig.2.1.27



Jar painted with figures. By Zhou Xiaosong. Dated the 33rd year of Guangxu Reign (1907). H. 14.5 cm. Private collection

Fig.2.1.28

Winter-melon jar painted with the Two Qiaos. By Zhou Xiaosong. Dated the 32nd year of Guangxu Reign (1906). H. 27.5 cm. Private collection

Fig.2.1.29

Cylindrical covered jar painted with water birds and flowers. By ChisongShanren. Dated the 12th year of Guangxu Reign (1886). H. 20 cm Dia. 16 cm. Private collection

Fig.2.1.30



Food warmer painted with a relaxed old man. By Ziyu. Dated the 16th year of Guangxu Reign (1890). H. 13 cm Dia. 14 cm. Private collection

Fig.2.1.31

Plate painted with the theme of �come for chrysanthemums on the Festival of Double Ninth�. By Yinpu. Dated Guangxu Reign (1875-1908). L. 24 cm W. 17 cm. Private collection

Fig.2.1.32

Leaf-shaped plate painted with landscape. By Zhou Dahe. Dated the 20th year of Guangxu Reign (1894). L. 26.5 cm W. 30.3 cm. Private collection



Fig.2.1.33

Stem dish painted with crane and pine tree. By Jiang Xichen. Dated the 7th year of Guangxu Reign (1881). H. 4 cm Dia. 9 cm. Private collection

Fig.2.1.34

Basin painted with landscape after Zhao Danian's style. By Wang Shaowei. Dated the 2nd year of Guangxu Reign (1876). Dia. 42 cm. Private collection

Fig.2.1.35



Basin painted with a paradise flycatcher and pine tree. By Shaoxuan. Dated the 10 year of Guangxu Reign (1884). Dia. 25 cm. Made as a gift for Mingshan from Wang Juru. Private collection

Fig.2.1.36

Lobed basin painted with a smiling lady and a child. By Liu Tang. Dated the 9th year of Guangxu Reign (1883). Dia. 25 cm. Private collection

Fig.2.1.37

A pair of bowls painted with landscape. By Ziqing Shi. Dated the 22nd year of Guangxu Reign (1896). Dia. 20 cm. Private collection



Fig.2.1.38

Loop-handled teapot painted with landscape and figures. By Liang Kentang. Dated the 11th year of Guangxu Reign (1885). H, 10,5 cm Mouth Dia. 7 cm. Private collection

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