335:
240:
275:
55:
352:
224:
740:
34:
748:
315:
17:
85:
248:
interest. The appeal of China is deeply rooted in a long western tradition that may begin with the renowned
Italian explorer Marco Polo. This impression of China was reinforced by the exotic Chinese goods and luxuries that appeared in Europe, such as spices, silk, tea, and porcelain. Motivated by the splendid material culture, intellectuals ceaselessly explore Chinese civilisation. This positive view of Chinese civilization also existed among the Dutch early-modern authors. For instance, scholars like
287:
236:. As a monopoly in the early-modern Europe-Asia trade, the Dutch East India Company acts as a mediator between the two cultures and imports tons of porcelain along with other commodities like spices, silk, and tea. Since then, Chinese ceramic was not the exclusive luxury that only appeared in the upper class's mansion but became increasingly common in the domestic setting of the relatively humble household.
283:
in a prosperous commercial society, the value of the goods resides in its marketing price. Under the hegemonic Dutch economy, everything obeys the law of the business, including art. In this sense, porcelain traded by Dutch East India company was a good choice for the artists to contain in their still-life paintings considering its social and economic connotation.
282:
Meanwhile, the relatively opened art market and the distinct status of the artists in the Dutch
Republic give a chance to artists to explore their own interest. Thus, still-life painters are mediators who seize the commodity, which is highly esteemed by society and represent it in their painting. And
247:
Although the imported
Chinese ceramics gains its popularity among wealthy merchants, the erudite scholars and philosophers are not satisfied merely with the commercial value of the porcelain. For them, the country and the civilization that created this fascinating material culture are the core of the
231:
In the history of seventeenth-century trade, few things can compete with the prominent position of porcelain. Before the discovery of its making technique in the West, commercial activity between Europe and China was the only way to possess them. During the seventeenth century, the Dutch
Republic
294:
Moreover, the porcelain in Dutch still-life painting demonstrates how the material culture circulated and interacted around the world in the seventeenth century. This circulating process is also the process of domesticating the otherness. Like the connotations embedded in
264:
in 1675. Intellectuals’ taste could influence artists to a large extent since they are also important patrons of art. Although whether the artists are able to understand the cultural connotations of
Chinese porcelains is quite ambiguous, the wave of the
185:
In the 16th century, numerous other painters would use
Chinese porcelain in their paintings, especially Dutch ones. This trend was related to the direct importation of Chinese porcelain to Europe, through what is known as "Carrak" trade, hence the name
334:
341:
1398:● Gerritsen, Anne, and Mcdowall, Stephen. “Material Culture and the Other: European Encounters with Chinese Porcelain, ca. 1650-1800,” Journal of World History, Vol. 23, No.1, Special Issue: Global China (March 2012): 87-113.
210:
This artistic trend coinciding with the fashion for
Chinese porcelain in Europe in the 17th–18th century, which led to the development of a local porcelain industry initially highly imitative of Chinese wares, as seen in
1407:â—Ź Kaufmann, Thomas DaCosta. "The 'Netherlandish Model'? Netherlandish Art History As/and Global Art History." Nederlands Kunsthistorisch Jaarboek (NKJ) / Netherlands Yearbook for History of Art 66 (2016): 272-95.
303:, these commodities and even human beings depicted in the painting come from completely different continents or cultures. The foreign material culture here is used to articulate the local identity of the Dutch.
1413:● Weststeijn, Thijs. “Cultural Reflections on Porcelain in the 17th-century Netherlands”, Chinese and Japanese Porcelain for the Dutch Golden Age, Amsterdam: Rijksmuseum Amsterdam, (2014): 213-268.
203:
42:
351:
271:
may permeate into the artistic group. Chinese porcelain represents not only advanced craftsmanship and technology but also the symbol of civilization that is far away from Europe.
1416:â—Ź Weststeijn, Thijs. "Introduction: Global Art History and the Netherlands." Nederlands Kunsthistorisch Jaarboek (NKJ) / Netherlands Yearbook for History of Art 66 (2016): 6-27.
260:
demonstrate strong interests in sinology and actively spread their thoughts through their books. This “Chinese fever” culminated with the first Dutch translation of
314:
739:
1401:● Honig, Elizabeth Alice. “Making Sense of Things: On the Motives of Dutch Still Life,” Anthropology and Aesthetics, No. 34 (Autumn, 1998): 166-183.
239:
136:, who was known for his interest in Chinese porcelain. It seems that Bellini found samples of the Chinese ware not through trade, but among
997:
899:
884:
747:
54:
1338:
274:
1309:
1410:â—Ź Schama, Simon. The Embarrassment of Riches : An Interpretation of Dutch Culture in the Golden Age. London: Collins, 1987.
1344:
1201:
617:
375:
1129:
1362:
1069:
577:
1283:
504:
Gerritsen and
Mcdowall, “Material Culture and the Other: European Encounters with Chinese Porcelain, ca. 1650-1800,” 88.
495:
Gerritsen and
Mcdowall, “Material Culture and the Other: European Encounters with Chinese Porcelain, ca. 1650-1800,” 92.
1273:
1051:
1356:
1305:
1021:
718:
159:
Some earlier examples are known though, although it is unclear if they are
Chinese or Islamic prototypes, as in the
223:
1087:
105:
94:
21:
1075:
772:
1135:
1045:
712:
1320:
1165:
846:
232:
came to the fore in the realm of porcelain trading. This history was tightly related to the history of the
33:
1195:
1278:
1428:
1183:
1003:
1368:
985:
777:
612:
540:
Schama, The Embarrassment of Riches : An Interpretation of Dutch Culture in the Golden Age, 6.
233:
133:
117:
47:
570:
16:
1404:● Jörg, Christiaan J.A. Porcelain and the Dutch China Trade, The Hague: Martinus Nijhoff, 1982.
1123:
1093:
869:
682:
522:
Kaufmann "The 'Netherlandish Model'? Netherlandish Art History As/and Global Art History," 288.
169:
1332:
463:
423:
406:
201:
paintings. Some like Jacques Linard in 1627 even painstakingly reproduced Chinese writing, in
1063:
1009:
991:
943:
437:
1171:
243:
Part of the Triumphal Procession, with Gifts from the East and the West, by Jacob van Campen
194:
62:
1350:
1314:
1268:
1237:
1227:
1222:
676:
257:
1015:
84:
8:
1189:
979:
967:
253:
1380:
1374:
1033:
1027:
563:
296:
164:
153:
325:
1288:
1247:
1105:
1057:
949:
486:
Weststeijn, “Cultural Reflections on Porcelain in the 17th-century Netherlands,” 215.
249:
73:
1159:
1117:
1099:
973:
955:
931:
904:
724:
706:
607:
212:
110:
89:
26:
1326:
1147:
1039:
937:
799:
694:
278:
Kalf, Willem - Still-Life with an Aquamanile, Fruit, and a Nautilus Cup - c. 1660
187:
174:
137:
1242:
1111:
804:
688:
357:
149:
37:
1422:
1153:
914:
640:
622:
452:
321:
1252:
670:
380:
114:
961:
863:
819:
814:
700:
531:
Honig, “Making Sense of Things: On the Motives of Dutch Still Life,” 168.
513:
Weststeijn, “Cultural Reflections on Porcelain in the 17th-century,” 227.
286:
267:
1232:
794:
549:
Weststeijn, "Introduction: Global Art History and the Netherlands," 18.
198:
103:
In Italy, the first known depiction of Chinese porcelain bowls is from
439:
Chinese export porcelain in the Reeves Center collection at Washington
664:
658:
586:
1081:
809:
652:
1177:
1141:
646:
145:
120:
type, maybe examples of which are known to have been exported in
227:
Willem Kalf - Still-Life with a Late Ming Ginger Jar - WGA12080
141:
121:
129:
125:
72:
is known from the 16th century, following the importation of
555:
441:
by Thomas V. Litzenburg, Ann T. Bailey, Reeves Center p. 14
408:
Bazaar to piazza: Islamic trade and Italian art, 1300–1600
197:
and Paul Gauguin, also represented Chinese bowls in their
79:
180:
342:Nature morte au gibier et Ă la coupe de porcelaine
59:Nature morte au gibier et a la coupe de porcelaine
1420:
743:Ming plate 15th century Jingdezhen kilns Jiangxi
477:Jörg, Porcelain and the Dutch China Trade, 10.
113:(1514). The style of the bowls is that of the
571:
425:Blanc de Chine: the great porcelain of Dehua
301:Still Life with a Moor and Porcelain Vessels
132:. The painting by Bellini was a request by
578:
564:
402:
400:
398:
396:
345:(detail), François Desporte, c. 1700–1710.
285:
273:
238:
222:
83:
53:
32:
15:
465:Consuming cultures, global perspectives
393:
50:bowl covered with Chinese writing, 1627
1421:
910:Chinese porcelain in European painting
467:by John Brewer, Frank Trentmann p. 104
80:Italian precedents (15th–16th century)
70:Chinese porcelain in European painting
618:Chinese influences on Islamic pottery
559:
376:Chinese influences on Islamic pottery
152:), and in 1498 and 1508 (gift to the
362:Les cinq sens et les quatre éléments
204:Les cinq sens et les quatre éléments
43:Les cinq sens et les quatre éléments
13:
1274:Ehrenfried Walther von Tschirnhaus
746:
738:
218:
181:Rest of Europe (17th–18th century)
14:
1440:
719:Famille jaune, noire, rose, verte
1333:Kuskovo State Museum of Ceramics
751:Meissen hard porcelain vase 1735
350:
333:
313:
543:
534:
525:
516:
507:
427:by Robert H. Blumenfield, p.180
498:
489:
480:
471:
457:
445:
431:
417:
1:
1393:
1339:Sèvres – Cité de la céramique
1284:François Xavier d'Entrecolles
585:
1321:Dresden Porcelain Collection
7:
369:
88:Chinese Ming-type bowls in
10:
1445:
1363:Victoria and Albert Museum
1369:Museum of Royal Worcester
1345:Musée des Arts Décoratifs
1310:Percival David Foundation
1304:British Museum (London):
1297:
1261:
1215:
924:
892:
883:
856:
839:
832:
787:
778:Japanese export porcelain
765:
758:
736:
633:
600:
593:
410:by Rosamond E. Mack p.105
306:
193:French painters, such as
148:Sultans in 1498 (gift to
1279:Johann Friedrich Böttger
613:Chinese export porcelain
386:
234:Dutch East India Company
118:blue and white porcelain
48:blue and white porcelain
752:
744:
291:
290:Juriaen van Streek 002
279:
244:
228:
100:
66:
51:
30:
750:
742:
289:
277:
242:
226:
170:Adoration of the Magi
134:Duke Alfonso I d'Este
106:The Feast of the Gods
95:The Feast of the Gods
87:
57:
36:
22:The Feast of the Gods
19:
1315:The David Collection
1238:Overglaze decoration
1228:Hard-paste porcelain
1223:Soft-paste porcelain
258:Joost van den Vondel
1172:Bing & Grøndahl
1136:Dihl & Guérhard
1034:Villeroy & Boch
451:Permanent exhibit,
76:wares into Europe.
1381:Ludwigsburg Palace
1375:Walters Art Museum
773:Japanese porcelain
753:
745:
643:(16th century BCE)
297:Juriaen van Streek
292:
280:
245:
229:
195:François Desportes
167:(1460–70), or the
165:Francesco Benaglio
101:
67:
63:François Desportes
52:
31:
1429:Chinese porcelain
1390:
1389:
1289:Dmitry Vinogradov
1211:
1210:
1184:Wagner & Apel
900:List of companies
879:
878:
828:
827:
734:
733:
691:(14th century on)
685:(14th century on)
679:(11th century on)
608:Chinese porcelain
320:The 14th century
250:Willem ten Rhijne
161:Madonna and Child
74:Chinese porcelain
1436:
998:Saint Petersburg
905:French porcelain
890:
889:
847:Korean porcelain
837:
836:
763:
762:
598:
597:
580:
573:
566:
557:
556:
550:
547:
541:
538:
532:
529:
523:
520:
514:
511:
505:
502:
496:
493:
487:
484:
478:
475:
469:
461:
455:
449:
443:
435:
429:
421:
415:
404:
354:
337:
317:
213:French porcelain
138:diplomatic gifts
111:Giovanni Bellini
90:Giovanni Bellini
27:Giovanni Bellini
1444:
1443:
1439:
1438:
1437:
1435:
1434:
1433:
1419:
1418:
1396:
1391:
1386:
1327:Gardiner Museum
1306:Asia Department
1293:
1257:
1207:
1148:Hutschenreuther
920:
917:
875:
852:
849:
824:
783:
780:
754:
730:
629:
626:
589:
584:
554:
553:
548:
544:
539:
535:
530:
526:
521:
517:
512:
508:
503:
499:
494:
490:
485:
481:
476:
472:
462:
458:
450:
446:
436:
432:
422:
418:
405:
394:
389:
372:
365:
355:
346:
338:
329:
326:Barthélemy Remy
318:
309:
254:Peter van Hoorn
221:
219:The Netherlands
188:Kraak porcelain
183:
175:Andrea Mantegna
82:
46:, with Chinese
12:
11:
5:
1442:
1432:
1431:
1395:
1392:
1388:
1387:
1385:
1384:
1378:
1372:
1366:
1360:
1357:Topkapı Palace
1354:
1348:
1342:
1336:
1330:
1324:
1318:
1312:
1301:
1299:
1295:
1294:
1292:
1291:
1286:
1281:
1276:
1271:
1265:
1263:
1259:
1258:
1256:
1255:
1250:
1245:
1243:China painting
1240:
1235:
1230:
1225:
1219:
1217:
1213:
1212:
1209:
1208:
1206:
1205:
1199:
1193:
1187:
1181:
1175:
1169:
1163:
1157:
1151:
1145:
1139:
1133:
1127:
1121:
1115:
1109:
1103:
1097:
1091:
1085:
1079:
1073:
1067:
1061:
1055:
1049:
1043:
1037:
1031:
1025:
1019:
1013:
1007:
1001:
995:
989:
983:
977:
971:
965:
959:
953:
947:
941:
935:
928:
926:
922:
921:
919:
918:
912:
907:
902:
896:
894:
887:
881:
880:
877:
876:
874:
873:
872:(14th century)
867:
866:(10th century)
860:
858:
854:
853:
851:
850:
843:
841:
834:
830:
829:
826:
825:
823:
822:
817:
812:
807:
802:
797:
791:
789:
785:
784:
782:
781:
775:
769:
767:
760:
756:
755:
737:
735:
732:
731:
729:
728:
727:(18th century)
722:
721:(17th century)
716:
715:(17th century)
710:
709:(17th century)
704:
703:(16th century)
698:
697:(16th century)
692:
689:Blanc de Chine
686:
683:Blue and white
680:
674:
673:(12th century)
668:
667:(10th century)
662:
656:
650:
644:
637:
635:
631:
630:
628:
627:
620:
615:
610:
604:
602:
595:
591:
590:
583:
582:
575:
568:
560:
552:
551:
542:
533:
524:
515:
506:
497:
488:
479:
470:
456:
444:
430:
416:
391:
390:
388:
385:
384:
383:
378:
371:
368:
367:
366:
358:Jacques Linard
356:
349:
347:
339:
332:
330:
319:
312:
308:
305:
220:
217:
182:
179:
150:Doge Barbarigo
81:
78:
65:, c. 1700–1710
38:Jacques Linard
9:
6:
4:
3:
2:
1441:
1430:
1427:
1426:
1424:
1417:
1414:
1411:
1408:
1405:
1402:
1399:
1383:(Ludwigsburg)
1382:
1379:
1376:
1373:
1370:
1367:
1364:
1361:
1358:
1355:
1352:
1351:Palace Museum
1349:
1346:
1343:
1340:
1337:
1334:
1331:
1328:
1325:
1322:
1319:
1316:
1313:
1311:
1307:
1303:
1302:
1300:
1296:
1290:
1287:
1285:
1282:
1280:
1277:
1275:
1272:
1270:
1267:
1266:
1264:
1260:
1254:
1251:
1249:
1246:
1244:
1241:
1239:
1236:
1234:
1231:
1229:
1226:
1224:
1221:
1220:
1218:
1214:
1203:
1200:
1197:
1194:
1191:
1188:
1185:
1182:
1179:
1176:
1173:
1170:
1167:
1164:
1161:
1158:
1155:
1152:
1149:
1146:
1143:
1140:
1137:
1134:
1131:
1128:
1125:
1122:
1119:
1116:
1113:
1110:
1107:
1104:
1101:
1098:
1095:
1092:
1089:
1086:
1083:
1080:
1077:
1074:
1071:
1068:
1065:
1062:
1059:
1056:
1053:
1050:
1047:
1044:
1041:
1038:
1035:
1032:
1029:
1026:
1023:
1020:
1017:
1014:
1011:
1008:
1005:
1002:
999:
996:
993:
990:
987:
984:
981:
978:
975:
972:
969:
966:
963:
960:
957:
954:
951:
948:
945:
942:
939:
936:
933:
930:
929:
927:
923:
916:
915:Armorial ware
913:
911:
908:
906:
903:
901:
898:
897:
895:
891:
888:
886:
882:
871:
868:
865:
862:
861:
859:
855:
848:
845:
844:
842:
838:
835:
831:
821:
818:
816:
813:
811:
808:
806:
803:
801:
798:
796:
793:
792:
790:
786:
779:
776:
774:
771:
770:
768:
764:
761:
757:
749:
741:
726:
723:
720:
717:
714:
711:
708:
705:
702:
699:
696:
693:
690:
687:
684:
681:
678:
675:
672:
669:
666:
663:
661:(6th century)
660:
657:
655:(2nd century)
654:
651:
649:(1st century)
648:
645:
642:
641:Proto-celadon
639:
638:
636:
632:
624:
623:Fonthill Vase
621:
619:
616:
614:
611:
609:
606:
605:
603:
599:
596:
592:
588:
581:
576:
574:
569:
567:
562:
561:
558:
546:
537:
528:
519:
510:
501:
492:
483:
474:
468:
466:
460:
454:
453:Louvre Museum
448:
442:
440:
434:
428:
426:
420:
414:
413:
409:
403:
401:
399:
397:
392:
382:
379:
377:
374:
373:
363:
359:
353:
348:
344:
343:
336:
331:
327:
324:, painted by
323:
322:Fonthill vase
316:
311:
310:
304:
302:
298:
288:
284:
276:
272:
270:
269:
263:
259:
255:
251:
241:
237:
235:
225:
216:
214:
208:
206:
205:
200:
196:
191:
189:
178:
177:(1495–1505).
176:
172:
171:
166:
162:
157:
155:
151:
147:
143:
139:
135:
131:
127:
123:
119:
116:
112:
108:
107:
98:
96:
91:
86:
77:
75:
71:
64:
60:
56:
49:
45:
44:
39:
35:
28:
24:
23:
18:
1415:
1412:
1409:
1406:
1403:
1400:
1397:
1317:(Copenhagen)
1253:Factory mark
1216:Technologies
1124:Clignancourt
909:
545:
536:
527:
518:
509:
500:
491:
482:
473:
464:
459:
447:
438:
433:
424:
419:
411:
407:
381:Pseudo-Kufic
361:
340:
300:
299:’s painting
293:
281:
266:
261:
246:
230:
209:
202:
192:
184:
168:
160:
158:
140:received by
115:Ming dynasty
104:
102:
93:
69:
68:
58:
41:
20:
1377:(Baltimore)
1371:(Worcester)
1298:Collections
1064:Ludwigsburg
1046:Frankenthal
1022:Nymphenburg
1016:FĂĽrstenberg
992:Capodimonte
944:Saint-Cloud
268:chinoiserie
1394:References
1359:(Istanbul)
1233:Bone china
1118:Copenhagen
1112:Loosdrecht
1094:Wallendorf
677:Jingdezhen
199:still-life
25:(detail),
1353:(Beijing)
1329:(Toronto)
1323:(Dresden)
1196:Porsgrund
1190:Rosenthal
1130:Hollóháza
1040:Worcester
980:Vincennes
968:Chantilly
962:Rörstrand
805:Nabeshima
587:Porcelain
262:Confucius
144:from the
1423:Category
1365:(London)
1335:(Moscow)
1269:Chinamen
1202:Augarten
1082:Wedgwood
1028:Plymouth
893:General:
840:General:
810:Kakiemon
766:General:
601:General:
370:See also
328:in 1713.
207:, 1627.
154:Signoria
1347:(Paris)
1341:(Paris)
1248:Biscuit
1178:Zsolnay
1154:Doulton
1142:Mintons
1106:Limoges
1004:Mennecy
986:Chelsea
950:Meissen
671:Qingbai
647:Celadon
364:, 1627.
146:Mamluke
1262:People
1204:(1923)
1198:(1885)
1192:(1879)
1186:(1877)
1180:(1853)
1174:(1853)
1168:(1826)
1166:Herend
1162:(1822)
1160:Lichte
1156:(1815)
1150:(1814)
1144:(1793)
1138:(1781)
1132:(1777)
1126:(1775)
1120:(1775)
1114:(1774)
1108:(1771)
1102:(1768)
1096:(1764)
1090:(1763)
1088:Berlin
1084:(1759)
1078:(1760)
1076:Retiro
1072:(1759)
1066:(1758)
1060:(1757)
1054:(1756)
1052:Sèvres
1048:(1755)
1042:(1751)
1036:(1748)
1030:(1748)
1024:(1747)
1018:(1747)
1012:(1747)
1006:(1745)
1000:(1744)
994:(1743)
988:(1743)
982:(1740)
976:(1735)
974:Doccia
970:(1730)
964:(1726)
958:(1718)
956:Vienna
952:(1710)
946:(1693)
940:(1673)
934:(1575)
932:Medici
925:Types:
885:Europe
870:Joseon
864:Goryeo
857:Types:
820:Hirado
815:Kutani
788:Types:
725:Canton
713:Kangxi
707:Tianqi
701:Swatow
634:Types:
625:(1338)
307:France
256:, and
142:Venice
122:Persia
99:(1514)
29:, 1514
1100:Revol
1070:Weesp
1058:Derby
938:Rouen
833:Korea
800:Imari
795:Arita
759:Japan
695:Kraak
594:China
387:Notes
130:Egypt
126:Syria
665:Ding
659:Xing
128:and
1010:Bow
653:Yue
173:by
163:by
156:).
109:by
92:'s
1425::
1308:/
412:ff
395:^
360:,
252:,
215:.
190:.
124:,
61:,
40:,
579:e
572:t
565:v
97:'
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
