Plate
1680-1700 (made)
| Artist/Maker | |
| Place of origin |
Object Type
This small plate is thick and, though made of soft material, probably intended for hard use. The Chinese porcelain original from which it was copied would have been thinly potted and extremely tough.
Time
When the Ming dynasty ended in 1664, the civil wars that followed not only interrupted trade with the West, but also introduced a completely new style of painting on porcelain. This sketchy, simplified style, used only between the end of the Ming dynasty and the great revival of the arts in China under the Qing emperor, Kangxi (1662-1722), is generally known as 'Transitional'. When it reached the West, delftware painters in London, Bristol and especially The Netherlands found that the style admirably suited the soft absorbent surface of tin-glazed earthenware.
This small plate is thick and, though made of soft material, probably intended for hard use. The Chinese porcelain original from which it was copied would have been thinly potted and extremely tough.
Time
When the Ming dynasty ended in 1664, the civil wars that followed not only interrupted trade with the West, but also introduced a completely new style of painting on porcelain. This sketchy, simplified style, used only between the end of the Ming dynasty and the great revival of the arts in China under the Qing emperor, Kangxi (1662-1722), is generally known as 'Transitional'. When it reached the West, delftware painters in London, Bristol and especially The Netherlands found that the style admirably suited the soft absorbent surface of tin-glazed earthenware.
Object details
| Categories | |
| Object type | |
| Materials and techniques | Tin-glazed earthenware, painted in blue |
| Brief description | Chinese figure seated in an oriental landscape |
| Physical description | A Chinese figure seated in a grassy oriental landscape with two similar figures on the border in blue. Body colour: Buff. Glaze: Pinkish white. Shape: Shape G with flatter flange and a slightly concave base. (Alphabetic shape codes as used in appendix to Archer. Delftware. 1997) |
| Dimensions |
|
| Gallery label | British Galleries:
See the 'Spot the Difference' label on the front of the case(27/03/2003) |
| Credit line | Mellor Bequest |
| Object history | Made in Lambeth, London |
| Production | London or Brislington or Bristol |
| Subjects depicted | |
| Summary | Object Type This small plate is thick and, though made of soft material, probably intended for hard use. The Chinese porcelain original from which it was copied would have been thinly potted and extremely tough. Time When the Ming dynasty ended in 1664, the civil wars that followed not only interrupted trade with the West, but also introduced a completely new style of painting on porcelain. This sketchy, simplified style, used only between the end of the Ming dynasty and the great revival of the arts in China under the Qing emperor, Kangxi (1662-1722), is generally known as 'Transitional'. When it reached the West, delftware painters in London, Bristol and especially The Netherlands found that the style admirably suited the soft absorbent surface of tin-glazed earthenware. |
| Bibliographic reference | Archer, Michael. Delftware: the tin-glazed earthenware of the British Isles. A catalogue of the collection in the Victoria and Albert Museum. London: HMSO, in association with the Victoria and Albert Museum, 1997. ISBN 0 11 290499 8 |
| Other number | B192. - <u>Delftware</u> (1997) cat. no. |
| Collection | |
| Accession number | C.17-1963 |
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| Record created | January 29, 2000 |
| Record URL |
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