Цінський монохромний фарфор з колекції Національного музею мистецтв імені Богдана і Варвари Ханенків

Abstract

У статті аналізуються монохромні вироби з китайського фарфору доби Цін і досліджується складна технологія їхнього виготовлення. Висвітлено також основні проблеми ідентифікації китайської монохромної тонкостінної кераміки та її термінології. Матеріали дослідження проілюстровані експонатами з Національного музею мистецтв імені Богдана та Варвари Ханенків. The article analyzes Qing monochrome products of Chinese porcelain and studies the complex technology of their manufacture. This publication is also devoted to the main identification problems of Chinese monochrome thin-walled ceramics and its terminology. When dating and attributing Chinese monochrome porcelain causes the most difficult problem. Thin-walled monochrome glaze ceramic products manufactured at different times are often distinguished only by barely noticeable changes in parts and other proportions of products. Furthermore, the plagiarism was uncharacteristic of Chinese, and the imitation and copying of works of past epochs, in their opinion, only confirmed the value of original works and even gave a sacred meaning to them. The basis for this approach was the idea of connection between epochs, the continuity of traditions and the respect to ancestors supported by the ruling elite, because it was a part of the official religion of the statе –Confucianism.The secret of regenerative firing has been discovered that restores the natural color of metals in their oxides in the glaze composition thanks to the carbon by giving the rich hue color intensity to the monochrome Chinese ceramics. The play of different colors achieved exclusively by ceramic techniques is very attractive, and products colored in such way are sometimes more expensive than the painted glazed ceramics. In Qing times ceramists manufactured a lot of porcelain products that mimicked samples of previous epochs. From time to time potters created almost exact copies of products, so it is sometimes difficult for present-day researchers to tell the difference between late imitations and original ancient works.That’s way the purpose of this article is to analyze works of Chinese Qing monochrome porcelain from the collection of the Bohdan and Varvara Khanenko National Museum of Arts, to demonstrate the manufacturing technology and terminological features and to specify attributions. This study has been illustrated by pieces from the Bohdan and Varvara Khanenko National Museum of Arts.