A Thousand Years of Monochromes. Sacred and Profane Tableware of the Emperors of China. The Baur and Zhuyuetang Collections.
| N° d'inventaire | 21498 |
| Format | 21 x 27 |
| Détails | 392 p., 240 illustrations, hardcover. |
| Publication | Milan, 2018 |
| Etat | Nine |
| ISBN | 9788874398379 |
Of all civilizations, China boasts the longest ceramic tradition, from the terracotta and stoneware of ancient times to the imperial porcelains made in Jingdezhen from the end of the 14th century. These precious ceramics have always been admired and collected for their exceptional quality. Two hundred masterpieces from two world-renowned private collections are brought together for the first time in this book. The Baur collections in Geneva, formed from 1928 to 1951, and the Zhuyuetang collection (the Bamboo and Moon Pavilion) in Hong Kong, assembled from the late 1980s, bear witness to the refinement and variety of imperial monochrome porcelain of the Ming (1368-1644) and Qing (1644-1911) dynasties, which continued the tradition of the Tang (618-907) and Song (960-1279) periods. These seemingly sober pieces, which engage with both the profane and the sacred, attest to a return to the values of simplicity and modesty advocated by classical texts. With its various chapters placing the works in a historical, cultural, and technical context, this book is an absolute reference on Chinese monochromes for Chinese ceramic enthusiasts, students, researchers, and connoisseurs.
Of all civilizations, China boasts the longest ceramic tradition, from the terracotta and stoneware of ancient times to the imperial porcelains made in Jingdezhen from the end of the 14th century. These precious ceramics have always been admired and collected for their exceptional quality. Two hundred masterpieces from two world-renowned private collections are brought together for the first time in this book. The Baur collections in Geneva, formed from 1928 to 1951, and the Zhuyuetang collection (the Bamboo and Moon Pavilion) in Hong Kong, assembled from the late 1980s, bear witness to the refinement and variety of imperial monochrome porcelain of the Ming (1368-1644) and Qing (1644-1911) dynasties, which continued the tradition of the Tang (618-907) and Song (960-1279) periods. These seemingly sober pieces, which engage with both the profane and the sacred, attest to a return to the values of simplicity and modesty advocated by classical texts. With its various chapters placing the works in a historical, cultural, and technical context, this book is an absolute reference on Chinese monochromes for Chinese ceramic enthusiasts, students, researchers, and connoisseurs.