Museum

Eduard Stellmacherc. 1900 该作品的收藏者： 作品介绍 标题: "Dragon" Vase 日期: c. 1900 实际尺寸: w36.2 x h43.5 x d24.1 cm (overall) Designer: Eduard Stellmacher Credit Line: The Museum of Fine Arts, Houston, museum purchase funded by the Mary Kathryn Lynch Kurtz Charitable Lead Trust and the Decorative Arts Endowment, with additional gifts from Michael W. Dale, Bill and Sara Morgan in honor of Mr. and Mrs. Rodney H. Margolis, and, by exchange, Eva Kitchen, Mr. and Mrs. John W. Mecom, Jr., Bill and Leta Schoen, Mr. and Mrs. Philip A. Sayles, Mrs….

Chinesemid- 17th–early 18th century 该作品的收藏者： 作品介绍 标题: "Clair de lune" Waterpot 创作者: Chinese 日期: mid- 17th–early 18th century 实际尺寸: w10.2 x h7.6 cm (overall) Period: Kangxi Credit Line: The Museum of Fine Arts, Houston, bequest of Charlene Quitter Thompson 类型: Ceramics 材质: Porcelain 该作品收藏于： The Museum of Fine Arts, Houston

Chineseno date 该作品的收藏者： 作品介绍 标题: "Blanc de Chine" Figure of Guanyin 创作者: Chinese 日期: no date 实际尺寸: w14 x h20.3 x d11.4 cm (overall) Period: K'ang Hsi Credit Line: The Museum of Fine Arts, Houston, bequest of Charlene Quitter Thompson 类型: Ceramics 材质: Porcelain 该作品收藏于： The Museum of Fine Arts, Houston

1465-1487 该作品的收藏者： 作品介绍 标题: 'Palace bowl' with day lily design 位置: China, Jiangxi province, Jingdezhen 外部链接: For more information about this and thousands of other works of art in the Freer|Sackler collection, please visit http://www.asia.si.edu/. 材质: Clay: fine white porcelain. Glaze: transparent and colorless, high fire. Style: Jingdezhen ware Historical Period: Ming dynasty Credit Line: Purchase Collection: Freer Gallery of Art 该作品收藏于： Freer and Sackler Galleries

Olmec1500 – 300 BC 该作品的收藏者： 作品介绍 标题: 创作者: Olmec 日期: 1500 – 300 BC 实际尺寸: w31.1 x h42.5 x d22.9 cm (overall) Credit Line: The Museum of Fine Arts, Houston, museum purchase funded by "One Great Night in November, 2014" 类型: Ceramics 材质: Earthenware with slip 该作品收藏于： The Museum of Fine Arts, Houston

Unknownca.1115 – 1234 A.D 该作品的收藏者： 这件磁州窑“枕赋”枕是目前所见唯一枕上说枕的实物，也是目前所见到的字数最多的一件瓷枕，具有极为重要的史料和文物价值。这段文字以特有的文学形式——“赋”来描述了瓷枕的产地、兴起和当时之人对瓷枕的钟爱。 作品介绍 标题: “枕赋”枕 日期: ca.1115 – 1234 A.D 实际尺寸: w15.7 x h14.4 x d42 cm (Complete) Object type: Porcelain Pillow Craftsman: Unknown 出处: Museum of the Western Han Dynasty Mausoleum of the Nanyue King 类型: Porcelain 该作品收藏于： 西汉南越王博物馆

Unknown1942 该作品的收藏者： The plate bears the inscription “Julfest 1942” at the upper edge while the lower rim is decorated with pine branches and a star. Writing on the back identifies it as a “Jul-present given by the Main SS Office for Economic Administration”. ‘Jul-plates’ were produced by the SS-owned porcelain manufacturer Allach in Munich, which perfidiously also outsourced some of its work to the Dachau concentration camp. The plates were given away as presents by Oswald Pohl, the director of the authority, on the occasion of the ‘Julfest’, a celebration…

Unknown1662-1722 – 该作品的收藏者： Set of white porcelain vases – baluster-shaped vases, gourd-shaped vases and jar – with a “black mirror” glaze and a barely perceptible gilded decoration. All the pieces present traces of a floral decoration, framed by two large lambrequins, on the shoulder and next to the base. A frieze of small ruyi heads makes the link between the neck and the shoulder. At the base, a double blue circle.The name of “black mirror” was given to the pieces produced during the Kangxi Period, which have an intense shine….

Libero Andreotti1927 该作品的收藏者： The two cistae (containers) were modelled by the sculptor Libero Andreotti (Pescia, 1875 – Florence, 1933) and designed by the architect Gio Ponti (Milan, 1897-1979), who was responsible for renewing the designs at the Richard Ginori manufatury.They are cylindrical and lidded. The knobs on the lids are in the form of a winged woman, while four other kneeling female figures are set by each feet.In the decoration, which Gio Ponti called “an archaeological conversation”, male and female figures alternate in one case with columns, herms and aedicules,…

卢齐欧·封塔纳1955 – 该作品的收藏者： 作品介绍 标题: "White" Stations of the Cross, Station IV: Jesus meets his Mother 日期: 1955 – 实际尺寸: w21 x h41.5 x d10 cm Sculptor: Lucio Fontana Description: The work consists of fourteen white glazed ceramic tiles, each roughly sculpted and engraved. Prior to its acquisition by the Lombardy Region in 2010, the so-called “white” Via Crucis (Stations of the Cross) was preserved in the chapel of the “Casa Materna Asili Nido Ada Bolchini Dell'Acqua”, a charity organization in Milan. The work is the result of collaboration between…

The jar has a contracted mouth. Its swelling body tapers to a relatively narrow bottom that is finished with a foot ring. In the foot ring in seal script (zhuan shu), the Yongzheng Emperor’s reign mark is incised in intaglio. Even and lustrous, the glaze is the crystallized mixture of iron and magnesium. The olive-colored glaze is popularly named “eel yellow” (shanyu huang) for the similarity to the color of the fish’s skin. Yellow-glazed porcelain ware was created in southeastern China’s Jingdezhen official kilns during the Hongwu reign (1368-1398), and…

The vase is glazed in pale green with a hint of yellow. A pair of handles in the shape of ruyi sceptres links the garlic head to the round shoulder. The vase is carved with a pattern of interlocking lotus around the stomach and the mouth. The shoulder is detailed with a pattern of ruyi-heads and three bowstrings. In the white-glazed foot ring the Yongzheng Emperor’s reign mark is written in blue. The Yongzheng period saw the start of porcelain ware with this distinctive yellowish-green glaze.

The vase has a drum-shaped stomach. Both its mouth and foot are flared. Covered with sky-blue glaze, it has very subtle decoration: small nail heads line the top and bottom of the stomach above and below which are bowstrings. In the shallow white-glazed foot ring the reign mark of the Kangxi Emperor is written in blue. The production of porcelain beakers (gu) started in the Yuan dynasty (1272-1368). In addition to the Jingdezhen kilns in southeastern China’s Jiangxi province, Dehua kilns in southern China’s Fujian province and Longquan kilns in…

The washer has a contracted mouth and a flat bottom. It is supported by three feet, each of which is designed into S-shaped cloud. On the exterior, sixteen yellow toads swim in green waves generating white foams. Both the mouth rim and the feet have a lavender-tinged glaze. At the edge of the mouth, a four-character reign mark reads “Made in the Zhengde reign” (Zhengde nian zhi). Plain tricolor porcelanous stoneware is usually glazed in yellow, green, and purple, sometimes with black and white as alternatives. It is called “plain”…

Above a slender stem-like body, the neck flares out at the mouth, spreading open like a morning glory. The archaizing vase follows the shape of a gu bronze vessel, a type of ancient wine beaker. Although no reign mark is found in the foot ring, the style, color, and form of the vase indicate that it is a product of Jingdezhen in the Kangxi reign. Tiny cracks on the turquoise-blue glaze, bowstrings on the neck, stomach, and their joints decorate the vase. The surface is as lustrous as glass.

The melon-and-butterfly pattern acquired its name from its homonym guadie, meaning “small melon”. Although melons are very small during the initial stage of growth, their vines extend endlessly. Images of small melons, therefore, symbolize a family‘s endless succession of grandsons. The circular foot and its interior are glazed white. The inscription on the foot indicates a Jiaqing era of production.

The washer has a tapering body, flat interior bottom, and a stout foot ring. Grayish-blue glaze is applied all over its body except for the bottom rim. On the surface, lines of cracks resemble intersecting gold threads.   Guan ware of the Song dynasty is austere and serene. Relief and intaglio line patterns are the most common decoration. The tiny cracks on the surface demonstrate archaic flavor.   The round washer was used in the Qing court. The Qianlong Emperor (r. 1736-1795) wrote a poem and instructed his craftsman to engrave it…

Cizhou kiln is located in Handan, Hebei province. Porcelain pillows decorated with beasts, such as lion and tiger, were designed to express people’s wish for peace and good luck. Besides, those made in Cizhou kiln were also painted with children at play, fish and weed, bird and flower as decoration.

This vase was an innovation of the Kangxi era; its name derives from a wooden mallet used to wash clothes. The body of the vase is painted in cobalt blue. Its stomach bears an illustration of one scene from Tale of Hongfu, an courtesan for the Sui (581-618) minister Yang Su happens to see the hero Li Jing and is immediately captivated by his brilliance.

This peacock zun takes its name from its resemblance to peacock feathers. This zun is decorated with landscape subject belonging to the category of “retired officials”, who are often portrayed as hermits dwelling in nature. The painting suggests distance through variation in ink tone, much like the effects in traditional Chinese ink painting. The inscription discusses caring for elders and notes that this vessel was made in 1715 (54th year of the Kangxi reign) specifically for a Buddhist temple to pray for good fortune.

The exterior of this blue-and-white cylindrical brushholder is decorated with a text that praises accomplished officials written in regular script. The essay, written by Wang Bo, was requested by the Western Han (206 BCE-25 CE) emperor Liu Xun to extol their working relationship. The conclusion of the essay is marked by a red seal: “Kangxi inherits ancient traditions”, which shows the Kangxi Emperor‘s interest in traditional Chinese culture.

Twelve cups comprise this set. Flowers and plants of the twelve months are depicted in underglaze cobalt blue individually, accompanied by poetry. The conclusion of the poem is marked by a seal that reads “to admire” (shang). This set of cups was used by the Kangxi court for drinking wine.