Tag: Chinese

Visions of a China that isn’t coming back, illustrations from “China, in a series of views: displaying the scenery, architecture, and social habits of that ancient empire.” Published in London in 1843, it was written by Thomas Allom.

“Chinese cemetery.” Frontispiece. Page 5. Collections of and digitalized by the Getty Research Institute. In the public domain due to age. via https://archive.org/details/chinainseriesofv3to4allo/page/n5/mode/1up
“The Woo Tang Mountains.” Page 12. Drawn by T. Allom. T. A. Prior, engraver. Collections of and digitalized by the Getty Research Institute. In the public domain due to age. via https://archive.org/details/chinainseriesofv3to4allo/page/n12/mode/1up
“Hall of Audience, Palace of Yuen min Yuen, Peking.” Page 17. Drawn by T. Allom. E. Brandard, engraver. Collections of and digitalized by the Getty Research Institute. In the public domain due to age. via https://archive.org/details/chinainseriesofv3to4allo/page/n17/mode/1up
“Landing Place and Entrance to the Temple of Honan, Canton.” Page 10. From a sketch on the spot by T. Varnham, Esquire and drawn by T. Allom. C. T. Dixon, engraver. Collections of and digitalized by the Getty Research Institute. In the public domain due to age. via https://archive.org/details/chinainseriesofv3to4allo/page/10/mode/1up
“The Proof-sword Rock, Hoo-kew-Shan.” Page 12. Drawn by T. Allom. J. Sands, engraver. Collections of and digitalized by the Getty Research Institute. In the public domain due to age. via https://archive.org/details/chinainseriesofv3to4allo/page/12/mode/1up
Ladies of a Mandarin’s Family at Cards. Page 39 of Thomas Allom’s “China, in a series of views: displaying the scenery, architecture, and social habits of that ancient empire. ” J. Sanders, engraver after a drawing by T. Allom. Published in London in 1843. Collections of and digitalized by the Getty Research Institute. In the public domain due to age. via https://archive.org/details/chinainseriesofv3to4allo/page/n38/mode/1up
Dying and Winding Silk. Page 51 of Thomas Allom’s “China, in a series of views: displaying the scenery, architecture, and social habits of that ancient empire. ” J. Sanders, engraver after a drawing by T. Allom. Published in London in 1843. Collections of and digitalized by the Getty Research Institute. In the public domain due to age. via https://archive.org/details/chinainseriesofv3to4allo/page/n51/mode/1up
Cap Vendor’s Shop, Canton. Page 94 of Thomas Allom’s “China, in a series of views: displaying the scenery, architecture, and social habits of that ancient empire. ” J. Sanders, engraver after a drawing by T. Allom. Published in London in 1843. Collections of and digitalized by the Getty Research Institute. In the public domain due to age. https://archive.org/details/chinainseriesofv3to4allo/page/n94/mode/1up
Great Temple at Honan, Canton. Page 132 of Thomas Allom’s “China, in a series of views: displaying the scenery, architecture, and social habits of that ancient empire. ” J. Sanders, engraver after a drawing by T. Allom. Published in London in 1843. Collections of and digitalized by the Getty Research Institute. In the public domain due to age. https://archive.org/details/chinainseriesofv3to4allo/page/n132/mode/1up
Kite Flying at Hae-kwan, on the Ninth Day of Ninth Month. Page 149 of Thomas Allom’s “China, in a series of views: displaying the scenery, architecture, and social habits of that ancient empire. ” J. Sanders, engraver after a drawing by T. Allom. Published in London in 1843. Collections of and digitalized by the Getty Research Institute. In the public domain due to age. https://archive.org/details/chinainseriesofv3to4allo/page/n132/mode/1up
Arrival of Marriage Presents at the Bridal Residence. Page 190 of Thomas Allom’s “China, in a series of views: displaying the scenery, architecture, and social habits of that ancient empire. ” J. Sanders, engraver after a drawing by T. Allom. Published in London in 1843. Collections of and digitalized by the Getty Research Institute. In the public domain due to age. https://archive.org/details/chinainseriesofv3to4allo/page/n190/mode/1up

Thomas Allom was a an English architect, artist and topographical illustrator who lived from 1804 to 1872. He Illustrated a great many travel books, including this one.

Tulipieres. Vases just for tulips. 17th and 18th century. All blue and white and beautiful.

Tulipieres. Blue and white pyramidal flower vases. ca. 1695.
Tulipieres. Blue and white pyramidal flower vases. ca. 1695. Delft. Image © COPYRIGHT 2019 ARONSON ANTIQUAIRS OF AMSTERDAM. Fair use license. via https://www.aronson.com/all-kinds-of-vases-with-spouts-or-holes/

Pair of tulipieres. ca. 1700.
Pair of tulipieres. ca. 1700. Kangxi period, Chinese. Made for the Dutch market and modeled after originals in Dutch delft by Adriaen Kocx. Image © Cohen & Cohen. Fair use license. via https://www.cohenandcohen.co.uk/objectdetail/772514/17671/sold-pair-of-chinese-export-porcelain

Tulipiere. ca. 1780.
Tulipiere. ca. 1780. Blue and white delft. Bottom of the vase shows the mark of De Paeuw “The Peacock.” Image © 1stdibs, Inc. 2019. Fair use license. via https://www.1stdibs.co.uk/furniture/decorative-objects/vases-vessels/vases/delft-blue-white-tulipiere-tulip-vase/id-f_9429603/

Hats and other attire good enough for an empress. From the exhibition “Empresses of China’s Forbidden City”. Collection of the Palace Museum, Beijing.

Festive robe with bats, lotuses, and the character for longevity.
Festive robe with bats, lotuses, and the character for longevity. Jiaqing period, 1796–1820. Embroidery, polychrome and metallic-wrapped silk threads on silk tabby. Probably embroidered by the Imperial Silk Manufactory, Suzhou and tailored in the Imperial Workshop, Beijing. Palace Museum, Gu43302. © The Palace Museum. Fair use license. via http://www.alaintruong.com/archives/2018/08/18/36637303.html

Festive headdress with phoenixes and peonies.
Festive headdress with phoenixes and peonies. Tongzhi or Guangxu period, probably 1872 or 1888–89. Silver with gilding, kingfisher feather, pearls, coral, jadeite, ruby, sapphire, tourmaline, turquoise, lapis lazuli, and glass; frame: metal, wires with silk satin, velvet, and cardboard. Probably made in the Imperial Workshop, Beijing. Palace Museum, Gu59708. © The Palace Museum. Fair use license. via http://www.alaintruong.com/archives/2018/08/18/36637303.html

Court hat with phoenixes. 18th or 19th c.
Court hat with phoenixes. 18th or 19th c. Sable, velvet, silk floss, pearls, tiger’s-eye stone, lapis lazuli, glass, birch bark and metal with gilding, and kingfisher feather. Imperial Workshop, Beijing, presumed maker. Palace Museum, Gu60084. © The Palace Museum. Fair use license. via http://www.alaintruong.com/archives/2018/08/18/36637303.html

Pair of socks with phoenixes and other birds. Kangxi period, 1662–1722.
Pair of socks with phoenixes and other birds. Kangxi period, 1662–1722. Embroidery, polychrome, metallic-wrapped and peacock-filament-wrapped threads on silk satin with silk damask and silk lining. workshop, Probably made in a workshop in Jiangsu or Zhejiang province. Palace Museum, Gu61795. © The Palace Museum. Fair use license. via https://www.antiquesandthearts.com/empresses-of-chinas-forbidden-city-1644-1912/

Platform shoes with tiger heads, the character for longevity, and bats. Guangxu period, 1875–1908.
Platform shoes with tiger heads, the character for longevity, and bats. Guangxu period, 1875–1908. Appliqué, and silk satin. Platforms wood core covered with cotton and glass beads, Palace Museum, Gu61568. © The Palace Museum. Fair use license. via https://www.providencejournal.com/entertainmentlife/20181227/peabody-essex-museum-explores-history-of-three-women-who-ruled-china

Festive robe with eight dragon-phoenix roundels and twelve imperial symbols.
Festive robe with eight dragon-phoenix roundels and twelve imperial symbols. Guangxu period, about 1888–89. Embroidery, polychrome and metallic-wrapped silk threads on silk tabby. Imperial Silk Manufactory, Suzhou, embroidery. Imperial Workshop, Beijing, tailoring. Palace Museum, Gu44219. © The Palace Museum. Fair use license. via http://www.alaintruong.com/archives/2018/08/18/36637303.html

Home decor that only an empress could set her eyes on, at least till now. From the exhibition “Empresses of China’s Forbidden City”. Collection of the Palace Museum, Beijing.

Seal of empress with a double-headed dragon. Republican period. 1922.
Seal of empress with a double-headed dragon. Republican period. 1922. Gold alloy with silk tassels. Imperial workshops, Beijing. ©The Palace Museum. Fair use license. via https://www.providencejournal.com/entertainmentlife/20181227/peabody-essex-museum-explores-history-of-three-women-who-ruled-china

Stupa containing Empress Dowager Chongqing’s hair and Amitayus Buddha. 1777, Qianlong period.
Stupa containing Empress Dowager Chongqing’s hair and Amitayus Buddha. 1777, Qianlong period. Gold and silver alloy with coral and other precious and semi precious stones. Imperial workshops, Beijing. Palace Museum, Gu11866. © The Palace Museum. Fair use license. via http://www.alaintruong.com/archives/2018/08/18/36637303.html

Ewer with lady and boy in garden on two sides.
Ewer with lady and boy in garden on two sides. Probably 1760’s-1770’s. Probably made in Beijing. Qianlong period. Cloisonné and painted enamel, copper and gold alloy with enamel and precious and semi precious stones. Palace Museum, Gu11450. © The Palace Museum. Fair use license. via https://www.antiquesandthearts.com/empresses-of-chinas-forbidden-city-1644-1912/

Ewer with dragons and clouds. 1736-1795. Qianlong period.
Ewer with dragons and clouds. 1736-1795. Qianlong period. Gold alloy. Probably made in Beijing in the Imperial workshops. Palace Museum, Gu11455. © The Palace Museum. Fair use license. via https://america.cgtn.com/2018/09/19/the-empresses-of-china#foobox-1/6/EMP-363-Full-JPG.jpg

This is the second post from this wonderful exhibition. The first was of jewelry; the third is upcoming and has robes, hats and other items of attire. All as wonderful as these. The empresses were lucky indeed to be able to surround themselves with these enchanting items . . .

Fans to flirt with and others to stay cool with . . .a fashion I hope is coming back. Very pretty. 19th century and all from China.

Fan with a messenger of victory motif. 1860-1880.
Fan with a messenger of victory motif. 1860-1880. Black lacquered bamboo frame with gold decoration of Chinese characters in gardens painted on both side with scenes from palaces. Silk tassel. Image © Coutau-Bégarie and Associates, Paris. Fair use license. via http://www.coutaubegarie.com/html/fiche.jsp?id=9525784&np=&lng=fr&npp=150&ordre=&aff=&r=

Wood fan with painted silk insertions. ca. 1860.
Wood fan with painted silk insertions. ca. 1860. Chinese. Collection of the Fan Museum Trust. Image © 2019 The Fan Museum. Fair use license. via https://www.thefanmuseum.org.uk/collections/fan919598

Fan with a material games motif. ca. 1880.
Fan with a material games motif. ca. 1880. Ivory and silk. Ivory stand with tortoiseshell, enamel, mother-of-pearl and gold filigree. Image © Coutau-Bégarie and Associates, Paris. Fair use license. via http://www.coutaubegarie.com/html/fiche.jsp?id=9525794&np=&lng=fr&npp=150&ordre=&aff=&r=

Jewels that belonged to an empress or two from the Qing dynasty who ruled China fro 1644 to 1912. Collection of the Palace Museum, Beijing and part of the exhibition “Empresses of China’s Forbidden City”.

Hairpin with crab and reed. 1834 or earlier. Daoquang period.
Hairpin with crab and reed. 1834 or earlier. Daoquang period. Silver with gilding, jade, kingfisher feather, pearl and ruby. Palace Museum, Gu10223. © The Palace Museum. Fair use license. via https://america.cgtn.com/2018/09/19/the-empresses-of-china

Bracelets with bats, peaches and flowers. Probably 19th or early 20th c.
Bracelets with bats, peaches and flowers. Probably 19th or early 20th c. Gilded silver, tortoiseshell, coral, kingfisher feather, pearl, ruby, jadeite, and tourmaline Palace Museum, Gu10371. © The Palace Museum. Fair use license. via http://www.alaintruong.com/archives/2018/08/18/36637303.html

Hairpin with figure and vase. 18th or 19th c.
Hairpin with figure and vase. 18th or 19th c. Gilded silver, pearl, sapphire, coral, turquoise and kingfisher feather. Palace Museum, Gu10130. © The Palace Museum, Beijing. Fair use license. via https://enfilade18thc.com/2018/11/14/exhibition-empresses-of-chinas-forbidden-city-1644-1912/

More exquisite items from this exhibit coming in future posts.

Embroidery that goes back and forth through time from the collections of the Los Angeles County Museum of Art. All in the public domain. Two of western origin, the others from Asia.

Ecclesiastical embroidery. Late 17th c.
Ecclesiastical embroidery on velvet. Late 17th c. French. Maker not known. via https://collections.lacma.org/node/246569

Pocketbook. 18th c.
Pocketbook. 18th c. French or Swiss. Silk satin with straw embroidery. via https://collections.lacma.org/node/243942

Table frontal. early 19th c.
Table frontal. early 19th c. Late Qing dynasty, Chinese. Silk and metallic thread embroidery on silk satin. via https://collections.lacma.org/node/209113

Kimono fragment with scattered triangles. Edo period, Japan (1615-1868).
Kimono fragment with scattered triangles. Edo period, Japan (1615-1868). Silk satin with wrapped silk embroidery. via https://collections.lacma.org/node/224943

Pidan hol (hanging or cover). 19th c.
Pidan hol (hanging or cover). 19th c. Cambodian. Silk. Khmer people, Kampot province, makers. via https://collections.lacma.org/node/179104