Cloisonné enamel on copper alloy
late 18th century
20 9/16 x 6 1/4 in. (52.3 x 15.8 cm) (show scale)
This item is not on view
Gift of Samuel P. Avery
You may download and use Brooklyn Museum images of this three-dimensional work in accordance with a Creative Commons license
. Fair use, as understood under the United States Copyright Act, may also apply.
Please include caption information from this page and credit the Brooklyn Museum. If you need a high resolution file, please contact email@example.com
For further information about copyright, we recommend resources at the United States Library of Congress
, Cornell University
, Copyright and Cultural Institutions: Guidelines for U.S. Libraries, Archives, and Museums
, and Copyright Watch
For more information about the Museum's rights project, including how rights types are assigned, please see our blog posts on copyright
If you have any information regarding this work and rights to it, please contact firstname.lastname@example.org
Vase, late 18th century. Cloisonné enamel on copper alloy, 20 9/16 x 6 1/4 in. (52.3 x 15.8 cm). Brooklyn Museum, Gift of Samuel P. Avery, 09.512. Creative Commons-BY
side, 09.512_side1_PS2.jpg. Brooklyn Museum photograph, 2009
"CUR" at the beginning of an image file name means that the image was created by a curatorial staff member. These study images may be digital point-and-shoot photographs, when we don\'t yet have high-quality studio photography, or they may be scans of older negatives, slides, or photographic prints, providing historical documentation of the object.
The shape of this vase was popular during the Ming and Qing dynasties and possibly modeled after European bottle of the period. The cracked ice background decoration draws its inspiration from a ceramic technique initiated during the Kangxi era. The four sides of the vase depict plants, rocks, vases, bronze vessels, books, scrolls, a "qin," a sword and a fan in the shape of a banana leaf -- objects which signify the comfortable everyday life of the urban scholar-official. This type of composition, with objects floating freely, is also seen in eighteenth century ceramics, lacquerware and furniture decoration. It was an icon of eighteenth century China and may well be a reflection of the prevailing materialistic urban culture. The use of cloisonné for scholarly objects at this time also indicates a change of attitude brought about by the imperial patronage. Soon after its introduction to China, cloisonné was criticized by an early Ming Confucian scholar. Cao Zhao opposed the rich decoration of cloisonné, which presented a striking contrast to the monochrome ink paintings favored by the literati from the Yuan time onwards. Undoubtedly, the cloisonné was very popular with the ladies of the imperial court, and their patronage and taste may have influenced production. In deep cobalt blue, red, yellow, dark green, light green, brown, and white on a very deep turquoise background.
Condition: The colors of the enamels are in general quite dark and their surfaces are pitted, chipped, and not quite flush with the cloisons. The gilding has worn off in places. In a sunken square on the base is an apocryphal four character Ching T'ai mark.
Not every record you will find here is complete. More information is available for some works than for others, and some entries have been updated more recently. Records are frequently reviewed and revised, and we welcome
any additional information you might have.