CHINESE EXPORT SILVER & THE ENLIGHTENED RENAISSANCE 中國出口銀器: 被啟蒙的文藝復興

CHINESE EXPORT SILVER AND THE ENLIGHTENED RENAISSANCE   中國出口銀器: 被啟蒙的文藝復興 Chinese Export Silver always adapted to the realities of Chinese history; it was, after all, a product of that history,as such, it has qualities that no other silver category possesses. Viewed in the overall context of China, it is an excellent indicator of prevailing historical […]

META-MUSEUM: CHINESE EXPORT SILVER – The East-West Divide 中國出口銀器:東西方的分裂

 CHINESE EXPORT SILVER: The East-West Divide 中國出口銀器:東西方的分裂 Well into his third year of research, Adrien von Ferscht has always maintained a deep appreciation of the neo-classical Chinese Export Silver – a product of the late 18th/early 19th centuries. As his research has progressed, he has become increasingly aware of the trend of the majority of Chinese […]

META-MUSEUM:CHINESE EXPORT SILVER: Easter Rarities 中國出口銀器: 復活節的珍寶

  CHINESE EXPORT SILVER: Easter Rarities   中國出口銀器: 復活節的珍寶 While religious items of Chinese Export Silver are relatively rare, they certainly do exist for the Muslim and Jewish faiths, both of which were minority religions that had relevancy to China, with items with Hindu decorative imagery obviously existing in larger numbers. Christian religious objects, though, […]

META-MUSEUM: CHINESE EXPORT SILVER: The Enamel Revival Phenomenon 中國出口銀器:琺瑯的復興現象

CHINESE EXPORT SILVER: The Enamel Revival Phenomenon 中國出口銀器: 琺瑯的復興現象

The art of cloisonné is often looked upon as a Chinese art and in some respects it is a correct assumption, however cloisonné, as a technique finds its roots back in the 13 century BCE Mycenaean era and the Mediterranean – or at least the earliest known examples are to be found there. Since this […]

Meta-Museum – WILL THE REAL CUTSHING STEP FORWARD PLEASE 将真正的CUTSHING进步喜欢

WILL THE REAL CUTSHING STEP FORWARD PLEASE  将真正的CUTSHING进步喜欢 My already published Catalogue of Chinese Export Silver Makers’ Marks is an on-going piece of work that endeavours not only to identify additional makers and their marks but also the “real people” behind the “auspicious names” many Chinese makers adopted.  The following piece is part of my […]

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