z katalogu wystawy:
small covered jar with underglaze red design ( Chinese joulihong) fish and seawaves 1644-1911
Mały pojemnik z pokrywką wykonany w technice czerwonej emalii- z początku panowania dynastii Qing- bardzo plastyczny ciekawy rysunek małej rybki, która posiada niezwykłe znaczenie w kulturze chińskiej.
Świetna artystyczna kopia wykonana według tradycyjnej technologii i oryginalnych wzorów. Dla laika nie do odróżnienia od oryginału. Również sygnatura namalowana kobaltem identyczna jest jak ta oryginalna… W Chinach tej klasy ceramika jest bardzo droga. Wykonana przez słynne manufaktury z regionu Jingdezhen – stolicy chińskiej porcelany- gdzie znajdują się tysiące małych pracowni- i duże nowoczesne fabryki – produkujące najpiękniejszą porcelanę na świecie trafiła do Polski na słynną wystawę „ Historia porcelany chińskiej od X wieku do czasów współczesnych. Dziś niektóre eksponaty z tej wspaniałej kolekcji możecie Państwo nabyć na naszych aukcjach.
Wyboru porcelany na wystawę dokonywali wybitni specjaliści i artyści… Zatem mamy do czynienia z prawdziwym ponadczasowym dziełem sztuki.
Wymiary:
Wysokość 8 cm
Średnica kołnierza 3 cm
Średnica brzuśca 6,5 cm
Średnica podstawy 4 cm
Perełka każdej orientalnej kolekcji!!!
Pojemnik posiada oryginalne opakowanie- skrzynkę obitą jedwabiem z motywami złotych smoków –a od środka złotym jedwabiem… Skrzynka miała kontakt z wilgocią i trochę pachnie… ale jest niezwykłym oryginalnym dodatkiem …
Wystawa: Historia porcelany chińskiej od X wieku do czasów współczesnych
2005-10-25 (wtorek) – 2006-01-15 (niedziela)
Muzeum Archeologiczne w Poznaniu, ul. Wodna 27 - Pałac Górków
Porcelana chińska zachwyca nas swym pięknem i zarazem kruchością oraz jednoznacznie kojarzy się nawet laikowi z Państwem Środka. Wystawa jest jedną z niewielu okazji do zapoznania się z tą ciekawą dziedziną wytwórczości chińskich rzemieślników. I choć dzisiaj oceniamy przede wszystkim walory estetyczne naczyń, warto zagłębić się w ich ciekawe dzieje.
Wystawa dostępna dla zwiedzających od 25 października 2005 r. do 15 stycznia 2006 r. Na wystawę zapraszają Muzeum Archeologiczne w Poznaniu, Fundacja Patrimonium, Polsko-Chińska Fundacja Promocji Kultury i Sztuki DONG FENG.
Porcelana chińska zachwyca nas swym pięknem i zarazem kruchością oraz jednoznacznie kojarzy się nawet laikowi z Państwem Środka. Wystawa jest jedną z niewielu okazji do zapoznania się z tą ciekawą dziedziną wytwórczości chińskich rzemieślników. I choć dzisiaj oceniamy przede wszystkim walory estetyczne naczyń, warto zagłębić się w ich ciekawe dzieje.
Porcelana od wieków posiadała w Chinach wyjątkowe znaczenie pośród wszystkich artystycznych wyrobów. Produkowana była zarówno na potrzeby dworu cesarskiego i do celów ceremonialnych lub kultowych, ale również dla gospodarstw domowych do codziennego użytku. Często ze względu na swoją wartość stanowiła swego rodzaju dworską walutę służącą do kupowania stanowisk w administracji państwowej. Była także oryginalnym i cenionym instrumentem muzycznym. Dzięki tak powszechnemu wykorzystaniu na terenie Chin powstały wielkie ośrodki produkcji naczyń porcelanowych, wśród których najsławniejsze były: Hutianyao, Longquanyao, Dingyao, Yaozhuyao, Ruyao, Guanyao i Jingdezhen. Ostatni z nich za panowania Dynastii Yuan zdobył tytuł Chińskiej Stolicy Porcelany, a przedmioty pochodzące z jego pieców uznane zostały za wzór doskonałości techniki i piękna.
Większość prezentowanych eksponatów pochodzi właśnie z Chińskiej Stolicy Porcelany. W tradycyjnych chińskich gablotach można obserwować zmiany barw, wzorów zdobień i kształtów, dokonujące się na przestrzeni setek lat. Wśród wyrobów możemy podziwiać seladony o gładkich i cienkich ściankach, regularnych kształtach i wyjątkowo delikatnych brzegach z okresu Pięciu Dynastii, porcelanę Qingbai wprowadzoną za panowania Dynastii Song (960-1279), a także naczynia wykonane w okresie panowania Dynastii Yuan (1279-1368), kiedy ta wytwórczość uzyskała najwyższy poziom. Na wystawie obecna jest również porcelana z okresu tzw."Złotego Wieku" przypadającego za rządów Dynastii Qing (1644-1911), gdy nowe techniki malarstwa naszkliwnego w połączeniu z inwencją rzemieślników zaowocowały powstaniem dzieł o niespotykanych wcześniej kształtach i kolorystyce.
Wystawa to również okazja do zaprezentowania skomplikowanego procesu ich wytwarzania. Krótkie filmy towarzyszące ekspozycji zapoznają z poszczególnymi etapami produkcji i jednocześnie pokazują jak wiele wysiłku trzeba było włożyć, aby uzyskać efekt końcowy, zachwycający ludzi na całym świecie, zarówno koneserów jak i laików.
Wystawę prezentującą historię porcelany chińskiej, ukazującą dzieje i rozwój tej sztuki od X wieku do czasów współczesnych, można od środy 4 października oglądać w Muzeum Miedzi w Legnicy.
„Na przykładzie najbardziej charakterystycznych wyrobów reprezentujących wszystkie etapy rozwoju wytwórstwa porcelany w Chinach można prześledzić, jak zmieniła się technika i wzornictwo” - mówi dyrektor Muzeum Miedzi w Legnicy, Andrzej Niedzielenko.
Na wystawie, przygotowanej przez Polsko-Chińską Fundację Promocji Kultury i Sztuki Dong-Feng, zgromadzono ok. 400 eksponatów, które są wiernymi replikami oryginalnych naczyń, pochodzących z fabryk i manufaktur w Jingdezhen, miasta nazywanego światową stolicą porcelany.
Oprócz dzbanów, waz, filiżanek, czarek, talerzy, pater i przeróżnych puzderek, na legnickiej wystawie można zobaczyć tak zaskakujące przedmioty wykonane z porcelany jak stołek w formie niedużej beczki.
Prezentowane przedmioty pochodzą z okresów tzw. Pięciu Dynastii (907 -960), Dynastii Song (960-1279), Dynastii Yuan (1279 -1368), Dynastii Ming (1368-1644), Dynastii Qing (1644-1911) oraz Republiki Chińskiej (1911 do 1949).
Jesteśmy zaszczyceni, że ta wspaniała kolekcja została powierzona przez Fundację właśnie nam do sprzedaży. Możemy udostępnić kontakt w celu zakupu tej wspaniałej porcelany bezpośrednio w fabrykach – a także zapewniamy pomoc w organizacji wyprawy do Jingdezhen – stolicy chińskiej porcelany.
Każdy eksponat tej wystawy ma certyfikat Jing De-zhen Pottery Archaeological Research Institute, established with the approval of people' s government of Jiangxi Province in June of 1989. It was set up in the national major historical and cultural sites under state protection --Collect getting it in the private residence auspiciously, is divided into the office , the exhibition hall of archaeological materials, archaeological operating room of field. It is specialized agency that study JingDezhen relic and Jing De-zhen ceramic developing history.
This research institute, to the tenth century within the territory of Jing De-zhen --Ancient chinaware kiln ruins carry on overall investigation the 17th century, for cooperate with city capital construction explore and clear up the rescueing to kiln ruins , officer of Pearl Mountain ,. Is it bury unelected place of tribute to find among kiln ruins, officer of Pearl Mountain , since 1982, through exploring meticulously and repair day and night , got thousands of and counted the rare prize treasure. Because of kiln location unearthed thing, therefore times reliable, category abundant, scientific value the highest, become the most authoritative scales of division of history into periods of collector, appreciator, offer the most reliable treasure historical data to culture historian.
The research results of this research institute attract worldwide attention, since 1989, it has been invited nine times successively to go to Britain , Japan , Hong Kong, and Taiwan ,etc. to hold the exhibitions and publish " the kiln porcelain of unearthed officer Yongle and Xuan De of Pearl Mountain of Jing De-zhen ", " the excavated pottery in Jing De-zhen ", " become the kiln and offer as a gift and value highly ", " the emperor's porcelain ", " become acting officer's kiln and rebuild ", " the bright officer's kiln porcelain of the beginning is excavated in Jing De-zhen ", " Jing De-zhen unearthed kiln porcelain , officer of De , Xuan " , " Jing De-zhen excavate yuans of Ming officer kiln porcelain " large-scale academic antique catalogue.
In 1997, research institute this selected and recommended showpiece to participate in " national great archaeological discovery report exhibition in recent years " that hold by the national Ministry of Culture in Beijing. In 1999, this archaeological achievement of research institute was selected into the large-scale antique catalogue of " great archaeological discovery of the People's Republic of China ".
What Do Koi Fish Symbolize?
Koi Fish
By Sue Lynn Carty
Koi fish are a common symbol in both Chinese culture and feng shui, depicted on artwork, clothing, tattoos and even with live fish used in landscape design. Learn more about what these ornamental carp mean to those embracing this ancient symbol.
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The Koi Fish Legend
There are many ancient legends involving the koi fish. The oldest of the legends is the story of when Chinese philosopher Confucius was born a son in 533 B.C., King Shoko of Ro presented to him a magoy, a black carp, as a gift. According to this legend, all modern day koi, and their bright colors, are from the magoy given to Confucius by the king.
The legend says the Chinese then raised the koi in their rice patty fields to be used for food, especially during the long winter months, and not for pets. The Chinese then passed on their knowledge of raising koi to the Japanese. Raising koi in ponds began in Niigata, Japan during one particularly harsh winter.
Niigata Koi
During this very harsh winter, Japanese farmers in Niigata could not fish and could not sustain any crops. As a result, the farmers began building ponds in which to raise koi in order to feed their families. During this time, many farmers began noticing different color mutations on the skin of the newly bred koi. So they carefully chose the most beautifully colored fish and bred them in separate ponds to keep as family pets.Koi continue to be bred as pets and enjoyed for their wonderful coloring. Today, there are over 100 different color types of koi fish.
What Do Koi Fish Symbolize?
Learning it's history helps to answer the question, "What do koi fish symbolize?". By knowing koi's long history, you can more easily understand why people revere this beautiful fish so deeply.
General Symbolism
lucky koi
Many of the attributes of the koi symbolize several lessons and even trials individuals often encounter in life. The koi fish has a powerful and energetic life force, demonstrated by its ability to swim against currents and even travel upstream. Some of the characteristics associated with the koi include:
Good fortune
Success
Prosperity
Longevity
Courage
Ambition
Perseverance
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Many of the above described symbolic meanings of koi fish stem from the Chinese legend of the Dragon Gate in which a koi fish swam upstream, through waterfalls and other obstacles to reach the top of the mountain. At the top of the mountain was the "Dragon Gate". The legend says that when the koi finally reached the top, it became a dragon, one of the most auspicious creatures in Chinese culture.
Coloring Symbolism
The fish's coloring also has something to do with its symbolism. Certain colors represent certain aspects or outcomes in life.
Kohaku - This koi has a white body with red spots and symbolizes success in your career.
Kumonryu - There are two main variations of this koi. One variation is a koi with a white body and black spots and the other is an all black body. This Kumonryu koi symbolizes life changes and transformations.
Ogon - This solid, silver colored koi symbolically represents success in business and wealth.
Kuchibeni - This white and red patterned koi is often referred to as the "lipstick" fish, because the red coloring around its mouth makes it appear as though the fish is wearing lipstick. Kuchibeni koi represents love and long lasting relationships.
Yamabuki - The Yamabuki koi is gold in coloring and symbolizes riches and wealth.
Koi as a Traditional Chinese Food Source
No symbol in the Chinese culture has a singular meaning behind its status, especially when it comes to feng shui symbols. The koi has a varied background of how it was elevated to the symbol status of being auspicious. One of the things to remember is that in less modern times, the koi was a vital part of the Chinese diet. The farmers raised the fish in their rice fields in a perfect ecosystem. The fish provided fertilizer for the rice crops while the aquatic life found in the rice fields sustained the koi.This is a good example of the balance in life that the koi represents. When times became hard, often during the winter months, the rice farmers would survive by eating the highly nutritious koi. Some feng shui experts believe this history of the koi and its importance in sustaining the Chinese people first as a fertilizing source for the rice crop and then as a direct food source was the beginning of the koi becoming a symbol of prosperity.
Yin Yang and the Koi Symbol
In feng shui, the koi is tied to the yin yang symbol. In fact, the black and white tear drops of the yin yang symbol are said to be representations of two koi, one male and one female. The eye of each teardrop is symbolic of the constant watchful eye of the koi. This pairing of fish is often seen outside the context of the yin yang symbol as well. For example, a pair of koi is often used as a good luck symbol for a happy marriage.
Harmony and Happiness
The koi is synonymous with harmony and happiness. The two yin and yang koi complete each other and create a perfect balance of the negative and positive energies of chi energy, which is the life-force of all things on earth.
Koi in Feng Shui
koi statue
Koi can be represented in interior design with artwork such as paintings, photographs or sculpture. Its placement is said to attract auspicious abundance and prosperity into your home and life and some opt to have multiple representations of this fish.
Koi can be included in a home either in a pond or very large aquarium. If you are considering raising a koi on your own, be sure that you always usher auspicious energy your way by keeping the water fastidiously clean and well-filtered and by ensuring they have ample space to swim and grow.
By keeping your koi healthy, you can expect them to live anywhere between 50 and 75 years. It's no surprise that these colorful fish symbolize longevity, since some say that some koi have lived for nearly 200 years.
Chinese Porcelain Marks
The Qing Dynasty (1644-1912) and their reign marks
Although they are now thoroughly identified with China, the emperors of the Qing dynasty were not Chinese but descendants of the Jurchen, a group from the far north-east of China who had abandoned the term Jurchen, associated with historical submission to Chinese rule, and instead called themselves Manchu. Their leader then proclaimed himself emperor of the Qing (pure, clear) dynasty and in 1644 replaced the Ming dynasty as rulers of China.
During the seventeenth and eighteenth centuries, the problem of identity, of the balance between ancestral heritage and Chinese culture, was gradually resolved.
In the early stages of Manchu rule, the emperors still encountered considerable loyalty to the Chinese Ming dynasty. The Aisin-Gioro clan, to which the Qing emperors belonged, had consolidated their power from the 1590s through the organization of the Eight Banners. The Banners, military groups named for their distinctive banners, also formed the basis of social organisations that had been in place before the Manchu conquest of China, where warriors’ families were included in the groups and provided with educational opportunities and agricultural land.
As the Qing moved southwards, the Banners incorporated many Chinese (who eventually outnumbered the Manchus) into the Banners, providing for them and their families and thereby instilling loyalty. These were the troops that the Kangxi emperor led against three rebellious Chinese generals, finally crushing their revolt in 1681.
This chart shows the relative length and sequence of the various period during the Qing Dynasty (1644-1912)
Much of the early part of the Kangxi Emperor's rule was spent in consolidating and extending his territory. The Qianlong Emperor also undertook major military expansion, north-east and north-west. Both emperors led extensive expeditions themselves. The Yongzheng Emperor by contrast centered his time on Beijing and is best known for his transformation of government
Imperial marks from the Qing dynasty are mostly written in either Kai shu (kaishu) (normal script) or Zhuan shu (zhuanshu) (archaic seal script). It is worth noticing that kaishu iswriting and is therefore subject to the differences in penmanship and is therefore more difficult to fake, while zhuanshu technically is drawing and is therefore easier to emulate. Sometimes a third Song style occurs, but so far only examples of the 'normal' and the 'seal script' versions are shown below.
The 'seal script' is stylistically related to the interest in the archaic which not in this matter pre-dates the Yongzheng period, so I would personally feel uncertain about any seal script mark being older than the Yongzheng.
All genuine Imperial marks occurs in several versions and are written by a limited number of different hands. It is therefore felt that the individual handwriting of those entrusted with this work are possible to recognize. From around 1995 there seems to have been a rise in computer aided designs while no marks can be trusted anymore as the single feature on which to base any judgement of authenticity while overall style and quality should be the true criteria.
Jan-Erik Nilsson
gotheborg.com
Shunzhi 1644-61
Shunzhi 1644-61
The Shunzhi Emperor's given name wasFulin. Born in March 15, 1638 he was the second emperor of the Manchu Qing dynasty and the first Qing emperor to rule over China proper. Only six when he ascended the throne the Shunzhi reign lasted from 1644 to 1661.
The eighteen years of his reign brought great changes to China and its history.
Genuine Shunzhi period marks are rare if they indeed exist at all. To the left: Kaishu (normal script) style, to the rightzhuanshu (archaic seal script), possibly not occuring on any porcelain before the Yongzheng period.
In the first year of Shun Zhi reign (1644), a peasant army led by Li Zicheng overthrew the Ming rule in Beijing, which was in turn betrayed by traitor Wu Sangui and the Qing Army defeated Li Zicheng and occupied Beijing. Shortly, Shun Zhi came to Beijing from Shenyang and made Beijing the capital.
The 5th of February in the 18th year (1661) of his reign Shun Zhi (possible) died in Yangxindian (the Hall for Cultivating Character) in the Forbidden City. In the summer of the second year of Kang Xi reign (1663), Shun Zhi's coffin was buried in Xiaoling. However, a rumor has it that he instead, heartbroken by his young wife's death, had left the forbidden city to become a Buddhist monk.
Xiaoling in located at Malanyu, northwest Zunhua, Hebei Province, 125 kilometers from Beijing and is the East burial complex of the Qing dynasty. Among the tombs are the Xiaoling of Emperor Shun Zhi, Jinglingof Emperor Kangxi, Yuling of Emperor Qianlong, Dingling of Emperor Xianfeng,Huiling of Emperor Tongzhi and four tombs of empresses including Empress DowagerCian and Empress Dowager Cixi.
In 1928 some of the underground palaces were blown open by warlord Sun Dianyingand looted, why the tombs have suffered severe damages.
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