Scriptum Art Books v.o.f.: Aziatische kunst / Asiatic Art
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Ming !
October 2013, (24 x 29 cm), ca. 300 pp., ca. 250 colour ills., hardcover/ dutsjacket.
¶ The Ming Dynasty, which spanned nearly 300 years (1368-1644), is regarded as one of the most glorious in Chinese history - especially as regards porcelain. 'Ming' denotes the finest and most precious porcelain, which regularly achieves astronomical prices at auctions. The 'Ming vase' is a popular cliché even for those who are not familiar with the history of Chinese ceramics. This publication unveils the 'Ming myth', by presenting the internationally recognised collection of Chinese ceramics at the Keramiekmuseum Princessehof in Leeuwarden in the Netherlands. It comprises spectacular items of the highest quality, which were created exclusively for the Chinese imperial court. The rich and varied inventory of Chinese export ceramics for the Southeast Asian market, primarily from the former Dutch colony of Indonesia, is presented here in context for the first time. The founding of the Dutch East India Company VOC 1602 also finally opened up the European market for Ming porcelain. Especially the blue and white Kraak porcelain was an exotic decorative luxury in wealthy households and features prominently in Dutch still lifes of that era. The collection of Ming porcelain at Museum Princessehof is uniquely wide-ranging. It comprises the whole spectrum of imperial objects, along with so-called Martaban - large domestic storage jars, which were also considered status symbols in Indonesia - and Kraak porcelain. Impressive items of export porcelain destined for Europe were salvaged from the holds of two shipwrecks, the Witte Leeuw and the Hatcher Cargo, which sank in 1613 and 1643 respectively. This publication unveils the Ming myth, by presenting around 250 items from the collection at the Keramiekmuseum Princessehof, the Dutch National Museum of Ceramics. Embedded within its historico-cultural context, it reveals the history of the Chinese porcelain that was created in this glorious era, both for the imperial court and for a globalised trade.
¶ The Ming Dynasty, which spanned nearly 300 years (1368-1644), is regarded as one of the most glorious in Chinese history - especially as regards porcelain. 'Ming' denotes the finest and most precious porcelain, which regularly achieves astronomical prices at auctions. The 'Ming vase' is a popular cliché even for those who are not familiar with the history of Chinese ceramics. This publication unveils the 'Ming myth', by presenting the internationally recognised collection of Chinese ceramics at the Keramiekmuseum Princessehof in Leeuwarden in the Netherlands. It comprises spectacular items of the highest quality, which were created exclusively for the Chinese imperial court. The rich and varied inventory of Chinese export ceramics for the Southeast Asian market, primarily from the former Dutch colony of Indonesia, is presented here in context for the first time. The founding of the Dutch East India Company VOC 1602 also finally opened up the European market for Ming porcelain. Especially the blue and white Kraak porcelain was an exotic decorative luxury in wealthy households and features prominently in Dutch still lifes of that era. The collection of Ming porcelain at Museum Princessehof is uniquely wide-ranging. It comprises the whole spectrum of imperial objects, along with so-called Martaban - large domestic storage jars, which were also considered status symbols in Indonesia - and Kraak porcelain. Impressive items of export porcelain destined for Europe were salvaged from the holds of two shipwrecks, the Witte Leeuw and the Hatcher Cargo, which sank in 1613 and 1643 respectively. This publication unveils the Ming myth, by presenting around 250 items from the collection at the Keramiekmuseum Princessehof, the Dutch National Museum of Ceramics. Embedded within its historico-cultural context, it reveals the history of the Chinese porcelain that was created in this glorious era, both for the imperial court and for a globalised trade.
Scriptum Art Books v.o.f.Professional sellerBook number: 5489
€ 67.50 [Appr.: US$ 73.42 | £UK 57.5 | JP¥ 11516]
Catalogue: Aziatische kunst / Asiatic Art - China
Netsuke. 100 miniature masterpieces from Japan.
2014 (19 x 19,3 cm), 224 pp. English text, numerous colour ills. paperback.
¶ Netsuke have once again come to the fore in the popular imagination of the public. In part this is due to the phenomenal success of Edmund De Waals 2010 book, Hare with the Amber Eyes, which highlights a treasured netsuke collection that was challenged by war and the vicissitudes of time. Intricately carved from various materials including ivory, wood and metal, these small toggles served a practical purpose in Japan: a netsuke was used to fasten a mans sash, an integral part of Japanese costume. Up until the seventeenth century netsuke were relatively insignificant objects that were rarely of artistic interest, but as time passed they evolved in terms of both materials and workmanship, and were then used by men to flaunt their wealth or as an expression of status. Today netsuke are considered an art form in their own right and are prized by collectors around the world. They are found in a variety of forms and depict a wide range of subjects including figures of human and legendary form, ghosts, animals, botanical subjects and masks. Skilfully worked, these miniature carvings are of great artistic value, but they also provide a window into Japanese culture and society. This book brings together one hundred of the most beautiful and interesting netsuke from the extensive collection of the British Museum, each of which has its own special charm and story to tell. Uncovering the stories behind these netsuke and coupling them with stunning new photography, this book reveals why these tiny objects have captivated so many, the meaning they have held for those who wore them, and what they can tell us about Japanese everyday life.
¶ Netsuke have once again come to the fore in the popular imagination of the public. In part this is due to the phenomenal success of Edmund De Waals 2010 book, Hare with the Amber Eyes, which highlights a treasured netsuke collection that was challenged by war and the vicissitudes of time. Intricately carved from various materials including ivory, wood and metal, these small toggles served a practical purpose in Japan: a netsuke was used to fasten a mans sash, an integral part of Japanese costume. Up until the seventeenth century netsuke were relatively insignificant objects that were rarely of artistic interest, but as time passed they evolved in terms of both materials and workmanship, and were then used by men to flaunt their wealth or as an expression of status. Today netsuke are considered an art form in their own right and are prized by collectors around the world. They are found in a variety of forms and depict a wide range of subjects including figures of human and legendary form, ghosts, animals, botanical subjects and masks. Skilfully worked, these miniature carvings are of great artistic value, but they also provide a window into Japanese culture and society. This book brings together one hundred of the most beautiful and interesting netsuke from the extensive collection of the British Museum, each of which has its own special charm and story to tell. Uncovering the stories behind these netsuke and coupling them with stunning new photography, this book reveals why these tiny objects have captivated so many, the meaning they have held for those who wore them, and what they can tell us about Japanese everyday life.
Scriptum Art Books v.o.f.Professional sellerBook number: 6376
€ 24.00 [Appr.: US$ 26.11 | £UK 20.5 | JP¥ 4094]
Catalogue: Aziatische kunst / Asiatic Art - Japan
Shin hanga. De nieuwe prenten van Japan 1900-1960.
04 2022, (23,5 x 31 cm), 224 pp. Dutch, 219 colour ills., hardcover.
¶ De twintigste-eeuwse Japanse prentkunst heeft tot nu toe relatief weinig aandacht gekregen. Daar brengt deze publicatie echter verandering in. De shin hanga ('nieuwe prenten') zijn uitgebalanceerde ontwerpen, gedrukt op luxueus papier met de fijnste pigmenten en in kleinere oplagen. Ze zijn het resultaat van de traditionele, maar succesvolle samenwerking tussen kunstenaar, uitgever, bloksnijder en drukker. Het is niet zozeer in hun onderwerp als wel in hun beeldtaal dat de shin hanga prenten zich onderscheiden van hun traditionele voorgangers. Dit boek biedt een unieke selectie om de Japanse prentkunst van de twintigste eeuw te verkennen. De gereproduceerde prenten zijn grotendeels afkomstig uit twee grote privé-collecties, samen met een paar werken uit de Koninklijke Musea voor Kunst en Geschiedenis in Brussel en enkele uitzonderlijke stukken uit de familiecollectie van uitgever Watanabe, de man die aan de wieg stond van dit alles.
¶ De twintigste-eeuwse Japanse prentkunst heeft tot nu toe relatief weinig aandacht gekregen. Daar brengt deze publicatie echter verandering in. De shin hanga ('nieuwe prenten') zijn uitgebalanceerde ontwerpen, gedrukt op luxueus papier met de fijnste pigmenten en in kleinere oplagen. Ze zijn het resultaat van de traditionele, maar succesvolle samenwerking tussen kunstenaar, uitgever, bloksnijder en drukker. Het is niet zozeer in hun onderwerp als wel in hun beeldtaal dat de shin hanga prenten zich onderscheiden van hun traditionele voorgangers. Dit boek biedt een unieke selectie om de Japanse prentkunst van de twintigste eeuw te verkennen. De gereproduceerde prenten zijn grotendeels afkomstig uit twee grote privé-collecties, samen met een paar werken uit de Koninklijke Musea voor Kunst en Geschiedenis in Brussel en enkele uitzonderlijke stukken uit de familiecollectie van uitgever Watanabe, de man die aan de wieg stond van dit alles.
Scriptum Art Books v.o.f.Professional sellerBook number: 8096
€ 45.00 [Appr.: US$ 48.95 | £UK 38.5 | JP¥ 7677]
Catalogue: Aziatische kunst / Asiatic Art - Japan
Yoshitoshi. Masterpieces from the Ed freis collection.
December 2011, (25 x 30,3 cm), 160 pp. English text, 160 colour ills,, paperback.
¶ sukioka Yoshitoshi (1839-1892) created some of the most spectacular designs in 19th century Japanese woodblock prints. The last comprehensive overview of Yoshitoshi's work was published almost twenty years ago, but advances in scholarship since then have resulted in a re-evaluation of his work. This publication draws from the Ed Freis collection, which was assembled over the course of thirty years. It illustrates numerous works from Yoshitoshi's early career, including several prints that have to date not appeared in Western language catalogues. The two essays in the volume by Chris Uhlenbeck and Amy Reigle Newland take new approaches in the discussion of the art and life of Yoshitoshi, and depend little on the usual, at times dubitable, sources frequently used to paint a portrait of the artist. Chris Uhlenbeck offers insight into Yoshitoshi through a discussion of extant prints. He charts the development of Yoshitoshi's work from the late 1850s, when he received his first substantial commissions from various publishers, to his death at the age fifty-three in 1892. Amy Reigle Newland establishes Yoshitoshi's position among his peers using contemporary accounts found in types of popular guidebooks known as nazorae saiken(ki) ('riddle guidebooks') and in the emerging press. The more than 160 illustrations in the volume are fully annotated. Ed Freis has selected a handful of Yoshitoshi's signature works to highlight the details of process and variant editions. Maureen de Vries succinctly describes the often complex, layered iconography of Yoshitoshi's imagery. Robert Schaap has created a valuable pictorial appendix of all Yoshitoshi's documented serial works.
¶ sukioka Yoshitoshi (1839-1892) created some of the most spectacular designs in 19th century Japanese woodblock prints. The last comprehensive overview of Yoshitoshi's work was published almost twenty years ago, but advances in scholarship since then have resulted in a re-evaluation of his work. This publication draws from the Ed Freis collection, which was assembled over the course of thirty years. It illustrates numerous works from Yoshitoshi's early career, including several prints that have to date not appeared in Western language catalogues. The two essays in the volume by Chris Uhlenbeck and Amy Reigle Newland take new approaches in the discussion of the art and life of Yoshitoshi, and depend little on the usual, at times dubitable, sources frequently used to paint a portrait of the artist. Chris Uhlenbeck offers insight into Yoshitoshi through a discussion of extant prints. He charts the development of Yoshitoshi's work from the late 1850s, when he received his first substantial commissions from various publishers, to his death at the age fifty-three in 1892. Amy Reigle Newland establishes Yoshitoshi's position among his peers using contemporary accounts found in types of popular guidebooks known as nazorae saiken(ki) ('riddle guidebooks') and in the emerging press. The more than 160 illustrations in the volume are fully annotated. Ed Freis has selected a handful of Yoshitoshi's signature works to highlight the details of process and variant editions. Maureen de Vries succinctly describes the often complex, layered iconography of Yoshitoshi's imagery. Robert Schaap has created a valuable pictorial appendix of all Yoshitoshi's documented serial works.
Scriptum Art Books v.o.f.Professional sellerBook number: 6380
€ 56.00 [Appr.: US$ 60.91 | £UK 47.75 | JP¥ 9554]
Catalogue: Aziatische kunst / Asiatic Art - Japan
Yixing Teapots for Europe.
2015 (reprint of the 200 edition) (22 x 29 cm), 269 pp. English / Chinese text, numerous ills. and maps, hardcover with dustjecket.
¶ Yixing Teapots for Europe is a book published in 2000 by Patrice Valfré. It has been reprinted in 2015 by Mr Li, curator of The Hangzhou Museum. In this luxuous version, you will find an interesting additional chapter: 'How identify Yixing MingTeapots'. This book became a reference book on antique Chinese Yixing teapots produced for 500 years. In addition to his extensive historical research, Patrice Valfré lists more than 350 different antique teapots, ranging from 17th century to the present day. These antique valuable Yixing teapots come from French, Belgian, English, Danish and Chinese private collections, as well as teapots kept in the main European museums such as the Guimet Museum, the Table Arts Museum at Belleperche Abbey Museum in France, the British Museum and the V & A Museum, London, the Royal Museum of Art & History of Brussels, the Zwinger Museum of Dresden and the Copenhagen Royal collection.
¶ Yixing Teapots for Europe is a book published in 2000 by Patrice Valfré. It has been reprinted in 2015 by Mr Li, curator of The Hangzhou Museum. In this luxuous version, you will find an interesting additional chapter: 'How identify Yixing MingTeapots'. This book became a reference book on antique Chinese Yixing teapots produced for 500 years. In addition to his extensive historical research, Patrice Valfré lists more than 350 different antique teapots, ranging from 17th century to the present day. These antique valuable Yixing teapots come from French, Belgian, English, Danish and Chinese private collections, as well as teapots kept in the main European museums such as the Guimet Museum, the Table Arts Museum at Belleperche Abbey Museum in France, the British Museum and the V & A Museum, London, the Royal Museum of Art & History of Brussels, the Zwinger Museum of Dresden and the Copenhagen Royal collection.
Scriptum Art Books v.o.f.Professional sellerBook number: 7959
€ 120.00 [Appr.: US$ 130.53 | £UK 102.25 | JP¥ 20472]
Catalogue: Aziatische kunst / Asiatic Art - China
Treasures of Stone Uncovered. Buddhist Sculptures from the Northern Qi.
2018, (21,5 x 30,5 cm), 192 pp. English / Chinese text, numerous colour ills., hardcover.
¶ Hereto unknown statues of great significance to the art world will be revealed in this publication, their aesthetical features thoroughly analysed. Quite exceptionally, it also encompasses a full chapter explaining the scientific methodology that was employed to authenticate the objects. The goal of this publication is, on the one hand, to let the artworks capture the gaze of the reader with their splendor and refinement, and on the other, to increase the knowledge and understanding of the underexposed Buddhist art of the Northern Qi.
¶ Hereto unknown statues of great significance to the art world will be revealed in this publication, their aesthetical features thoroughly analysed. Quite exceptionally, it also encompasses a full chapter explaining the scientific methodology that was employed to authenticate the objects. The goal of this publication is, on the one hand, to let the artworks capture the gaze of the reader with their splendor and refinement, and on the other, to increase the knowledge and understanding of the underexposed Buddhist art of the Northern Qi.
Scriptum Art Books v.o.f.Professional sellerBook number: 7010
€ 70.00 [Appr.: US$ 76.14 | £UK 59.75 | JP¥ 11942]
Catalogue: Aziatische kunst / Asiatic Art
Aziatische kunst en de Nederlandse smaak.
April 2014, (24 x 31 cm), 232 pp. Dutch text, 275 colour ills., hardcover.
¶ In de afgelopen vierhonderd jaar hebben Nederlanders zich soms tijdelijk soms permanent in Azië gevestigd. Eén ding hadden al deze mensen gemeen: ze kwamen aanvankelijk om geld te verdienen en kansen te grijpen die Europa niet bood. Onder de bezielende leiding van de in 1602 opgerichte Verenigde Oostindische Compagnie (VOC) hebben talloze Nederlanders en buitenlanders in dienst van de VOC hun geluk in Azië gezocht. Hoewel de belangrijkste drijfveer uiteraard de (inter)Aziatische handel betrof, zorgden de contacten met tot dan toe onbekende culturen voor een niet te onderschatten neveneffect dat niet alleen de Nederlandse maar evenzeer de Aziatische samenleving 'op zijn kop' zette. Hoe deze cultuurshock zich vertaalde in de materiële cultuur van zowel het Oosten als het Westen, is het onderwerp van deze publicatie. Dit boek toont aan de ene kant voorwerpen van kunst en kunstnijverheid, vertaald in een westerse smaak, die voor de Europese en met name de Nederlandse markt waren bestemd. Aan de andere kant bevat het sier- en gebruiksvoorwerpen die voor de Westerse, Euraziatische en Aziatischse huishoudens zelf zijn vervaardigd. Bij deze objecten is de Westerse traditie juist aan de Oosterse smaak aangepast.
¶ In de afgelopen vierhonderd jaar hebben Nederlanders zich soms tijdelijk soms permanent in Azië gevestigd. Eén ding hadden al deze mensen gemeen: ze kwamen aanvankelijk om geld te verdienen en kansen te grijpen die Europa niet bood. Onder de bezielende leiding van de in 1602 opgerichte Verenigde Oostindische Compagnie (VOC) hebben talloze Nederlanders en buitenlanders in dienst van de VOC hun geluk in Azië gezocht. Hoewel de belangrijkste drijfveer uiteraard de (inter)Aziatische handel betrof, zorgden de contacten met tot dan toe onbekende culturen voor een niet te onderschatten neveneffect dat niet alleen de Nederlandse maar evenzeer de Aziatische samenleving 'op zijn kop' zette. Hoe deze cultuurshock zich vertaalde in de materiële cultuur van zowel het Oosten als het Westen, is het onderwerp van deze publicatie. Dit boek toont aan de ene kant voorwerpen van kunst en kunstnijverheid, vertaald in een westerse smaak, die voor de Europese en met name de Nederlandse markt waren bestemd. Aan de andere kant bevat het sier- en gebruiksvoorwerpen die voor de Westerse, Euraziatische en Aziatischse huishoudens zelf zijn vervaardigd. Bij deze objecten is de Westerse traditie juist aan de Oosterse smaak aangepast.
Scriptum Art Books v.o.f.Professional sellerBook number: 5749
€ 40.00 [Appr.: US$ 43.51 | £UK 34.25 | JP¥ 6824]
Catalogue: Aziatische kunst / Asiatic Art
Jade. 5000 B.C. to 1912 A.D.
Atglen 2004, (22,5 x 28,5 cm), 288 pp., 1020 colour ills., clothbound/ dustwrappers.
¶ Prized the world over, jade has been considered a sacred stone with miraculous powers since prehistoric times. In ancient China, jade was regarded as the most important physical substance on earth. This invaluable book traces the chronological use of jade carvings in China, including primitive utilitarian tools, fascinating ceremonial objects, beautiful ornaments, and intricately designed sculptures. Lavishly illustrated with over 900 color photographs, it features a wide diversity of examples and helps today's collector identify different types of jade and their period of carving -- ranging from neolithic times through the Qing Dynasty (1644-1912). Also discussed in less detail are jade carvings from India, New Zealand, and pre-Columbian civilizations such as the Mayan, Toltec, and Aztec. Tips for determining the age and authenticity of jade carvings are provided, along with current values for all items illustrated. This indispensable reference will appeal to all collectors and admirers of jade and the Oriental arts. Including price guide.
¶ Prized the world over, jade has been considered a sacred stone with miraculous powers since prehistoric times. In ancient China, jade was regarded as the most important physical substance on earth. This invaluable book traces the chronological use of jade carvings in China, including primitive utilitarian tools, fascinating ceremonial objects, beautiful ornaments, and intricately designed sculptures. Lavishly illustrated with over 900 color photographs, it features a wide diversity of examples and helps today's collector identify different types of jade and their period of carving -- ranging from neolithic times through the Qing Dynasty (1644-1912). Also discussed in less detail are jade carvings from India, New Zealand, and pre-Columbian civilizations such as the Mayan, Toltec, and Aztec. Tips for determining the age and authenticity of jade carvings are provided, along with current values for all items illustrated. This indispensable reference will appeal to all collectors and admirers of jade and the Oriental arts. Including price guide.
Scriptum Art Books v.o.f.Professional sellerBook number: 4840
€ 69.95 [Appr.: US$ 76.09 | £UK 59.75 | JP¥ 11934]
Catalogue: Aziatische kunst / Asiatic Art - China
Netsuke.
2008, (21,5 x 28 cm), 256 pp. English text, 977 colour ills., clothbound/ dustwrappers.
¶ Netsukes van ivoor, porselein, hout of ander materiaal gemaakt behoren tot het meest populaire Aziatische antiek. In dit nieuwe boek worden ruim 970 kleurenafbeeldingen getoond van netsukes die het Japanse leven verbeelden, (rituele) gebruiken, beroepen, kunsten, geschiedenis en legenden. De hier gepresenteerde netsukes zijn per onderwerp gerubriceerd. De heldere tekst introduceert, definieert en beschrijft de vele typen van netsukes en helpt bij het identificeren van netsukes en geeft tips over het verzamelen en onderhoud. Een bibliografie besluit dit boek dat een must is voor iedere liefhebber van Aziatische kunst. // Netsuke, the carved toggles used to fasten a small container to a kimono sash, made from ivory, wood, porcelain,and more, are among the most popular Asian antiques. Over 970 vivid images of netsuke are shown, representing Japanese life, customs, religion, professions, art, history, and legends. The netsukes are organized by subject, allowing readers to rapidly find those that interest them most. The succinct text introduces, defines, and describes the various types of netsukes and helps identify the subjects represented. Additionally, important evaluating tips are provided, along with a bibliography. This book is a must for anyone interested in Oriental art.
¶ Netsukes van ivoor, porselein, hout of ander materiaal gemaakt behoren tot het meest populaire Aziatische antiek. In dit nieuwe boek worden ruim 970 kleurenafbeeldingen getoond van netsukes die het Japanse leven verbeelden, (rituele) gebruiken, beroepen, kunsten, geschiedenis en legenden. De hier gepresenteerde netsukes zijn per onderwerp gerubriceerd. De heldere tekst introduceert, definieert en beschrijft de vele typen van netsukes en helpt bij het identificeren van netsukes en geeft tips over het verzamelen en onderhoud. Een bibliografie besluit dit boek dat een must is voor iedere liefhebber van Aziatische kunst. // Netsuke, the carved toggles used to fasten a small container to a kimono sash, made from ivory, wood, porcelain,and more, are among the most popular Asian antiques. Over 970 vivid images of netsuke are shown, representing Japanese life, customs, religion, professions, art, history, and legends. The netsukes are organized by subject, allowing readers to rapidly find those that interest them most. The succinct text introduces, defines, and describes the various types of netsukes and helps identify the subjects represented. Additionally, important evaluating tips are provided, along with a bibliography. This book is a must for anyone interested in Oriental art.
Scriptum Art Books v.o.f.Professional sellerBook number: 4281
€ 79.95 [Appr.: US$ 86.96 | £UK 68.25 | JP¥ 13640]
Catalogue: Aziatische kunst / Asiatic Art - Japan
A Culture Revealed. Kangxi-era Chinese Porcelain from the Jie Rui Tang Collection.
2017, (23,9 x 30 cm), 256 pp. English text, numerous colour ills., hardcover.
¶ This book focuses on selections from the Jie Rui Tang Collection of Kangxi porcelain, formed with care and dedication over a thirty-five year period. Unlike most Chinese porcelain collections, this one consists exclusively of wares from a single production period. The decision to concentrate on the Kangxi period came primarily from its collector's deep appreciation for Kangxi aesthetics: strong and fluid brushwork, the visual brilliance of the glazes, and the range and depth of decorative subject matter emerging from a pivotal period of Chinese history. The Jie Rui Tang Collection is unique not only in its singular focus on the Kangxi era, but also in its insistence on high quality. This publication features a selection of 120 out of hundreds of superlative examples. These have been chosen as a means to invite discussion and appreciation for their aesthetic appeal, technical achievement, and diverse subject matter. Instead of the traditional Western presentation, which groups porcelains by palette, a thematic approach has been chosen in order to present the wares in a way more closely aligned with their original purpose: a gift for a significant birthday, a ritual ware, or perhaps a token of encouragement to an aspiring scholar. Almost every decorative component on Kangxi wares has significance, whether a motif associated with a particular theme, such as deer or cranes with longevity; a combination of particular flowers and animals forming a pun rebus, where their names have homonyms that together form a message such as 'may you rise in rank'; conveying an auspicious wish, such as with the Chinese character for happiness; or depicting a scene from a famous story as a parable. A single piece of porcelain will often employ multiple themes and decorative devices to enhance its meaning. Meanings can also be amplified through the choice of forms, borders, and even base marks.
¶ This book focuses on selections from the Jie Rui Tang Collection of Kangxi porcelain, formed with care and dedication over a thirty-five year period. Unlike most Chinese porcelain collections, this one consists exclusively of wares from a single production period. The decision to concentrate on the Kangxi period came primarily from its collector's deep appreciation for Kangxi aesthetics: strong and fluid brushwork, the visual brilliance of the glazes, and the range and depth of decorative subject matter emerging from a pivotal period of Chinese history. The Jie Rui Tang Collection is unique not only in its singular focus on the Kangxi era, but also in its insistence on high quality. This publication features a selection of 120 out of hundreds of superlative examples. These have been chosen as a means to invite discussion and appreciation for their aesthetic appeal, technical achievement, and diverse subject matter. Instead of the traditional Western presentation, which groups porcelains by palette, a thematic approach has been chosen in order to present the wares in a way more closely aligned with their original purpose: a gift for a significant birthday, a ritual ware, or perhaps a token of encouragement to an aspiring scholar. Almost every decorative component on Kangxi wares has significance, whether a motif associated with a particular theme, such as deer or cranes with longevity; a combination of particular flowers and animals forming a pun rebus, where their names have homonyms that together form a message such as 'may you rise in rank'; conveying an auspicious wish, such as with the Chinese character for happiness; or depicting a scene from a famous story as a parable. A single piece of porcelain will often employ multiple themes and decorative devices to enhance its meaning. Meanings can also be amplified through the choice of forms, borders, and even base marks.
Scriptum Art Books v.o.f.Professional sellerBook number: 6894
€ 95.00 [Appr.: US$ 103.34 | £UK 81 | JP¥ 16207]
Catalogue: Aziatische kunst / Asiatic Art - China
The World of Khubilai Kahn. Chinese Art in the Yuan Dynasty.
New York, 2010, (23,8 x 31 cm), 384 pp. English text, some 400 colour ills., paperback.
¶ The World of Khubilai Khan: Chinese Art in the Yuan Dynasty, which accompanies a groundbreaking exhibition at The Metropolitan Museum of Art, is an in-depth discussion of the art and culture produced during this time, tracing the origins of the new art forms and exploring daily life in Yuan China, in particular at the imperial court and in the capital cities of Xanadu (Shangdu) and Dadu (Beijing), and the impact on the arts of various religions. The works of art and the archaeological finds on which the ten essays included in this volume are based are drawn principally from museums in China, with additional loans from museums in Taiwan, Japan, Russia, Germany , the United Kingdom, Canada, and the United States. The exhibition and catalogue, conceived and organized by James C. Y. Watt, Brooke Russell Astor Chairman of the Department of Asian Art at the Metropolitan Museum, illuminate our understanding of both the arts and the material culture of this period, telling the story of the emergence of a new Chinese art in a way that it has never before been told. In 1215, the year Khubilai Khan (1215-1294) was born, the Mongols made their first major incursion into North China, initiating a period of innovation in the arts that had its greatest flowering in the Yuan dynasty, founded by Khubilai in 1271 and lasting until 1368. The creativity unleashed during this period of approximately 150 years was instigated by the confluence of the many cultures and ethnic groups that were brought together in a unified empire in China, which for centuries past had been politically divided. Skilled craftsmen from all over Central and Western Asia were relocated to workshops in North China, where they worked alongside Chinese artists, exchanging ideas and styles. This interaction eventually resulted in the creation of new art forms that would provide models for the arts of China in all subsequent periods until the twentieth century.
¶ The World of Khubilai Khan: Chinese Art in the Yuan Dynasty, which accompanies a groundbreaking exhibition at The Metropolitan Museum of Art, is an in-depth discussion of the art and culture produced during this time, tracing the origins of the new art forms and exploring daily life in Yuan China, in particular at the imperial court and in the capital cities of Xanadu (Shangdu) and Dadu (Beijing), and the impact on the arts of various religions. The works of art and the archaeological finds on which the ten essays included in this volume are based are drawn principally from museums in China, with additional loans from museums in Taiwan, Japan, Russia, Germany , the United Kingdom, Canada, and the United States. The exhibition and catalogue, conceived and organized by James C. Y. Watt, Brooke Russell Astor Chairman of the Department of Asian Art at the Metropolitan Museum, illuminate our understanding of both the arts and the material culture of this period, telling the story of the emergence of a new Chinese art in a way that it has never before been told. In 1215, the year Khubilai Khan (1215-1294) was born, the Mongols made their first major incursion into North China, initiating a period of innovation in the arts that had its greatest flowering in the Yuan dynasty, founded by Khubilai in 1271 and lasting until 1368. The creativity unleashed during this period of approximately 150 years was instigated by the confluence of the many cultures and ethnic groups that were brought together in a unified empire in China, which for centuries past had been politically divided. Skilled craftsmen from all over Central and Western Asia were relocated to workshops in North China, where they worked alongside Chinese artists, exchanging ideas and styles. This interaction eventually resulted in the creation of new art forms that would provide models for the arts of China in all subsequent periods until the twentieth century.
Scriptum Art Books v.o.f.Professional sellerBook number: 6786
€ 45.00 [Appr.: US$ 48.95 | £UK 38.5 | JP¥ 7677]
Catalogue: Aziatische kunst / Asiatic Art - China
Biscuit. Refined Chinese Famille Verte Wares
October 2012, (23,5 x 29,7 cm), 240 pp. English, 197 colour ills., 7 b/w.ills.,hardcover.
¶ Exhibition catalogue; Famille verte biscuit wares are an important but so far little-studied group of refined Chinese porcelain made at the imperial kilns of Jingdezhen primarily during the Kangxi period (1662-1722). This group is defined by both the method of decoration and the colour palette, which is frequently dominated by green enamel. Presenting an extremely diverse range of shapes, including figurines and animals, small practical items for use within the Chinese domestic environment and religious icons, this group is as complicated as it is fascinating. Together they open a window on Chinese culture and society, through which the production and consumption of Chinese ceramics can also be studied. Famille verte biscuit wares became increasingly fashionable for the European market at this time; while most were collected as curiosities, others were made directly for this market. Indeed, the production of famille verte biscuit wares reflects the particular circumstances of trade between East and West during this period.
¶ Exhibition catalogue; Famille verte biscuit wares are an important but so far little-studied group of refined Chinese porcelain made at the imperial kilns of Jingdezhen primarily during the Kangxi period (1662-1722). This group is defined by both the method of decoration and the colour palette, which is frequently dominated by green enamel. Presenting an extremely diverse range of shapes, including figurines and animals, small practical items for use within the Chinese domestic environment and religious icons, this group is as complicated as it is fascinating. Together they open a window on Chinese culture and society, through which the production and consumption of Chinese ceramics can also be studied. Famille verte biscuit wares became increasingly fashionable for the European market at this time; while most were collected as curiosities, others were made directly for this market. Indeed, the production of famille verte biscuit wares reflects the particular circumstances of trade between East and West during this period.
Scriptum Art Books v.o.f.Professional sellerBook number: 6925
€ 175.00 [Appr.: US$ 190.35 | £UK 149 | JP¥ 29856]
Catalogue: Aziatische kunst / Asiatic Art - China
Linglong.
2004, (21,5 x 30,4 cm), 175 pp. English / Portugese text, 115 colour ills., hardcover.
¶ Exhibition catalogue by Teresa Canepa; Sixty-six exceptional examples of 'Linglong' - porcelain decorated with fine openwork carving - are explored in this exhibition catalogue. These pieces of intricately reticulated porcelain are known in Chinese as linglong or guigong (devil's work). This catalogue illustrates the technical developments of this type of porcelain, as well as the aesthetic transformations that the designs on these wares underwent to adapt to different tastes of various export markets, specifically during the Ming and Qing dynasties.
¶ Exhibition catalogue by Teresa Canepa; Sixty-six exceptional examples of 'Linglong' - porcelain decorated with fine openwork carving - are explored in this exhibition catalogue. These pieces of intricately reticulated porcelain are known in Chinese as linglong or guigong (devil's work). This catalogue illustrates the technical developments of this type of porcelain, as well as the aesthetic transformations that the designs on these wares underwent to adapt to different tastes of various export markets, specifically during the Ming and Qing dynasties.
Scriptum Art Books v.o.f.Professional sellerBook number: 6933
€ 135.00 [Appr.: US$ 146.84 | £UK 115 | JP¥ 23032]
Catalogue: Aziatische kunst / Asiatic Art - China
Out of the Ordinary. Living with Chinese Export Porcelain
October 2014, (23,5 x 29,7 cm), 344 pp. English text, 351 colour ills.,hardcover.
¶ The focus of this catalogue will be on the more unusual items of this trade, frequently ordered in smaller quantities and through private trade. Most of the items in this group imitate Western prototypes made in metal, ceramics or glass, and can also be characterized by their functionality. Set apart from the more customary plates, dishes and tureens that made up the majority of the export porcelain trade, this group includes egg cups, strainers, cutlery handles, pudding moulds, custard pots, ladles, funnels, bulb pots, snuff boxes, cane handles, barber's bowls and chamber pots, among other shapes. The sheer variety of forms in this group is a testimony to the significant reach of the porcelain trade as well as the remarkable adaptability of the Chinese potter. Made to order according to the latest fashions, this group also provides an insight into the contemporary consumer society of Europe during this period. The popularity of new, exotic and luxury products such as tea, coffee, chocolate and various spices, as well as alcoholic beverages, stimulated new habits and the need for a variety of porcelain utensils. Also used for personal grooming, fashionable accessories and for furnishing the home, Chinese export porcelain permeated many aspects of daily life during this period.
¶ The focus of this catalogue will be on the more unusual items of this trade, frequently ordered in smaller quantities and through private trade. Most of the items in this group imitate Western prototypes made in metal, ceramics or glass, and can also be characterized by their functionality. Set apart from the more customary plates, dishes and tureens that made up the majority of the export porcelain trade, this group includes egg cups, strainers, cutlery handles, pudding moulds, custard pots, ladles, funnels, bulb pots, snuff boxes, cane handles, barber's bowls and chamber pots, among other shapes. The sheer variety of forms in this group is a testimony to the significant reach of the porcelain trade as well as the remarkable adaptability of the Chinese potter. Made to order according to the latest fashions, this group also provides an insight into the contemporary consumer society of Europe during this period. The popularity of new, exotic and luxury products such as tea, coffee, chocolate and various spices, as well as alcoholic beverages, stimulated new habits and the need for a variety of porcelain utensils. Also used for personal grooming, fashionable accessories and for furnishing the home, Chinese export porcelain permeated many aspects of daily life during this period.
Scriptum Art Books v.o.f.Professional sellerBook number: 6931
€ 155.00 [Appr.: US$ 168.6 | £UK 132 | JP¥ 26444]
Catalogue: Aziatische kunst / Asiatic Art - China
Inro. Japanese Belt Ornaments / Gürtelschmuck aus Japan. (The Trumpf Collection),
March 2016, (22 x 29,5 cm), 432 pp. English/ German text, 571 colour ills., 140 marks reproduced, hardcover.
¶ (English): The richly illustrated publication presents about 250 inr_ from the Anna and Christian Trumpf collection. These small, multipartite receptacles for seals and medicine, which were attached to a belt with the aid of a toggle (netsuke), came into use in the sixteenth century and remained a prominent accessory in Japanese menswear until the late nineteenth century. The symbolic, often narrative decoration conveys a valuable insight into Japanese culture. Today the carefully and lovingly worked, mostly lacquered inr_ enjoy enormous popularity in collectors' circles. Following the inventory of the Trumpfs' significant netsuke collection published in 2000, another comprehensively annotated standard work on Japanese belt decoration. // (Deutsch): Der reich bebilderte Katalog präsentiert rund 250 Inr_ aus der Sammlung Anna und Christian Trumpf. Die kleinen, mehrteiligen Behälter für Siegel und Medizin, die mit Hilfe eines Knebels (Netsuke) am Gürtel befestigt wurden, kamen im 16. Jh. in Gebrauch und blieben bis ins ausklingende 19. Jh. ein auffälliges Accessoire der japanischen Männermode. Die symbolhaften, nicht selten narrativen Dekore vermitteln wertvolle Einblicke in die japanische Kultur. Die mit Sorgfalt und Liebe zum Detail zumeist in Lack gearbeiteten Inr_ erfreuen sich bis heute in Sammlerkreisen gro§er Beliebtheit. Nach dem im Jahr 2000 publizierten, inzwischen vergriffenen Bestandskatalog der bedeutenden Netsuke-Sammlung des Ehepaars Trumpf liegt nun ein weiteres, ausführlich kommentiertes Standardwerk zum japanischen Gürtelschmuck vor.
¶ (English): The richly illustrated publication presents about 250 inr_ from the Anna and Christian Trumpf collection. These small, multipartite receptacles for seals and medicine, which were attached to a belt with the aid of a toggle (netsuke), came into use in the sixteenth century and remained a prominent accessory in Japanese menswear until the late nineteenth century. The symbolic, often narrative decoration conveys a valuable insight into Japanese culture. Today the carefully and lovingly worked, mostly lacquered inr_ enjoy enormous popularity in collectors' circles. Following the inventory of the Trumpfs' significant netsuke collection published in 2000, another comprehensively annotated standard work on Japanese belt decoration. // (Deutsch): Der reich bebilderte Katalog präsentiert rund 250 Inr_ aus der Sammlung Anna und Christian Trumpf. Die kleinen, mehrteiligen Behälter für Siegel und Medizin, die mit Hilfe eines Knebels (Netsuke) am Gürtel befestigt wurden, kamen im 16. Jh. in Gebrauch und blieben bis ins ausklingende 19. Jh. ein auffälliges Accessoire der japanischen Männermode. Die symbolhaften, nicht selten narrativen Dekore vermitteln wertvolle Einblicke in die japanische Kultur. Die mit Sorgfalt und Liebe zum Detail zumeist in Lack gearbeiteten Inr_ erfreuen sich bis heute in Sammlerkreisen gro§er Beliebtheit. Nach dem im Jahr 2000 publizierten, inzwischen vergriffenen Bestandskatalog der bedeutenden Netsuke-Sammlung des Ehepaars Trumpf liegt nun ein weiteres, ausführlich kommentiertes Standardwerk zum japanischen Gürtelschmuck vor.
Scriptum Art Books v.o.f.Professional sellerBook number: 6517
€ 49.95 [Appr.: US$ 54.33 | £UK 42.75 | JP¥ 8522]
Catalogue: Aziatische kunst / Asiatic Art - Japan
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