Design Analysis Analyzing A Bowl

DESIGN ANALYSIS: ANALYZING A BOWL

Name

Class

Date

Bowel with stylized floral decoration

China, Ming dynasty (1368 - 1644), Wanli period (1573 - 1620), the late 16

century

The decorative bowl in the figure above originates from the Chinese culture. With an average of

six inches (15 cm) in diameter, this type of bowl has a highly schematized representation of an ancient

Chinese town and a very thin body. The town is painted in vivid navy bluish color. This bowl is a

standard Jingdezhen export ware dating back to the late 16

century.

In recent decades, numerous pieces

of this type of bowl were sold in Southeast Asia.

The addition of gilt silver mounts and handles as

depicted in the photo has improved its efficient utility hence boosting its market in the European states

Rice, Prudence. Pottery analysis: a sourcebook. University of Chicago Press, 2015.

Fell, Richard. "George Manginis. China Rediscovered: The Benaki Museum Collection of Chinese

Ceramics." 191-192. 2017.

today. The stylized floral decorations that depict an ancient Chinese town on the bowl and the German

silver mounts have improved its exhibition.

The bowl was made out of ceramic in China during the Wanli period, the late 16

century. This

decorative bowl forms part of continuous development from the Ming dynasty (1368 – 1644) and other

Predynastic times. Such ceramic bowls form a very remarkable aspect of Chinese art globally. Chinese

construction materials such as tiles and bricks are used to form ceramics used in bowl pottery. Such

ceramics used to produce such fine arts are made on an industrial scale. The hand-built bowl is then fired

in kilns or bonfires in preparation for export as either diplomatic gifts or trade to European states,

Southeast Asia, and other Islamic states. There are three types of bowls made out of Chinese ceramics,

those made for export purposes, those fabricated for the imperial court, and those made for special

purposes, i.e., use at the altar or for burial in tombs. The silver handles and mounts were inspired by

Islamic metalwork during the Ming dynasty.

The enameled decoration in vivid navy bluish color was

embedded with a specific target for export market demands. Mixing pottery stone and kaolin equally in

addition to ceramics enhances the strength and whiteness of the bowl’s body, which is a much sought

after property.

As noted earlier, the ceramic bowl was fabricated within the Ming dynasty (1368 - 1644). During

this phase, ethnic Hans ruled over China and pottery expanded in the south.

These bowls were made in

Jingdezhen which was ideal for its abundant minerals that aided in manufacturing porcelain, petuntse,

kaolin, and ceramics. At Jingdezhen, the coarse bodied shufu was made into hardened porcelain that does

not reveal any sign of handicraft by potters. During the Yongle period (1402 - 1424), the bowl was

Lee, Cheuk Yin, and Chan Ying‐kit. "China, imperial: 7. Ming dynasty period 1368–1644." In The

Encyclopedia of Empire. 2016.

Ibid.

modified with additional silver mounts. During the Wanli period (1573 – 1620), white and blue designs

were refined and applied as overglaze paintings over the bowl as delicate care was placed into

consideration. All these modifications occurred in the south as the northern parts declined. The

manufacture of these bowels with stylized floral decoration was initiated and build upon by the scholars

based at Jingdezhen.

In the 16

century, the scholars based at Jingdezhen continued to refine the designs on the blue

and white floral decorations. At first, these colors were unappealing for use within the courts. It was until

the Xuande period (1425 - 1435) that Yuan patterns found a way to floral and dragon motifs where they

attained massive grace and clarity.

During this phase, they were greatly applied to flattened pilgrim jars,

stem cups, vases, dishes, and bowls in a thick pigmented form. The blue and white designs were over

refined during the Chenghua period (1464 - 1487) which saw them attain massive utility in Arabic

inscriptions by Muslim eunuchs.

The Wanli period saw these shade mismanaged as poor quality products

were produced; private factories shut down manufacture until the Ming dynasty came to an end. Later on,

scholars realized the power of contrasting blue pigmented colors against a pure white background and this

saw the revival of the 16

-century artwork in the 18

century on the west of Lake Tai.

The Chinese bowl artifact has been exhibited in the Metropolitan Museum alongside several other

artifacts. Other artifacts exhibited close to the 16

-century bowl include the late 16

-century temple vase

decorated with dragon-like amid flowers. The 16

-century bowl is attributed to the Chinese culture and is

Fell, Richard. "George Manginis. China Rediscovered: The Benaki Museum Collection of Chinese

Ceramics." 191-192. 2017.

Ibid.

classified under “ceramics.” Its credit line is Avery Fund, 1923 and has an accession number of 23.263.

The bowl was recognized as having been manufactured in the late 16

century within the Ming dynasty

(1368–1644), Wanli period (1573–1620).

The artifact has a marking on the base showing “Fu Shou”

which denotes long life and happiness.

No extra inscriptions and signatures are found on the artifact in

the museum. It has two historical exhibitions; in the University of Chicago’s smart Art Museum between

October to December 1985 and at the Metropolitan Art Museum in New York between November 1976

to September 1978.

Under the Metropolitan Museum’s publications, the artifact is located under White

and Blue: Japanese Export Ware.

This artifact is significant enough to be exhibited and preserved as it documents the history of

Chinese art in the late 16

century. The artifact was developed during the inception of blue and white

coloring; it, therefore, stands as one of the symbols that depict modification in Chinese history. The

additional German gilt silver mounts is a great sign of scholarly work by Jingdezhen kilns and showcase

Chinese capacity to intermarry various cultures to attain a perfect appeal to their artifacts. In my own

opinion, this artifact ought to be preserved for numerous years to come. Through it, modern generations

will appreciate the origins of Chinese culture.

Metropolitan Museum of Art (US). Chinese Bowl. n.d.

https://www.metmuseum.org/art/collection/search/42195 (accessed April 05, 2018).

Ibid.

Lee, Cheuk Yin, and Chan Ying‐kit. "China, imperial: 7. Ming dynasty period 1368–1644." In The

Encyclopedia of Empire. 2016.

Metropolitan Museum of Art (US). Chinese Bowl. n.d.

https://www.metmuseum.org/art/collection/search/42195 (accessed April 05, 2018).

Bibliography

Metropolitan Museum of Art (US). Chinese Bowl. n.d.

https://www.metmuseum.org/art/collection/search/42195 (accessed April 05, 2018).

Fell, Richard. "George Manginis. China Rediscovered: The Benaki Museum Collection of Chinese

Ceramics." 191-192. 2017.

Lee, Cheuk Yin, and Chan Ying‐kit. "China, imperial: 7. Ming dynasty period 1368–1644." In The

Encyclopedia of Empire. 2016.

Rice, Prudence. Pottery analysis: a sourcebook. University of Chicago Press, 2015.

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