@museumwnf/porcelain-data 1.0.5 → 1.0.6

This diff represents the content of publicly available package versions that have been released to one of the supported registries. The information contained in this diff is provided for informational purposes only and reflects changes between package versions as they appear in their respective public registries.
Files changed (6) hide show
  1. package/items.json +1 -1
  2. package/manifest.json +1 -1
  3. package/package.json +1 -1
  4. package/translations/items.ar.json +1 -1
  5. package/translations/items.en.json +1 -1
  6. package/translations/items.pt.json +1 -1
package/items.json CHANGED
@@ -1 +1 @@
1
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صانعو الفخار الجسم الأبيض بزيادة تعتيم زجاجهم بإضافة القصدير. وتأثير البضائع الصينية كان يتجلى بشكل أكبر في العصر المغولي عندما حكم الإلخانيون (1256-1353 ) وهم أقارب للمغول حكام الصين (سلالة يوان 1279-1368) إيران ولكن لا شيء يقارن بالتأثير الشامل للبورسلين المستورد الصيني الأزرق والأبيض على الإنتاج الفارسي من الفخار. ومن حوالي عام 1600 فإن دفعة جديدة لتجارة البورسلين أتت من تأسيس الشركة الهولندية والإنجليزية لشرق الهند حيث أن كميات كبيرة من البورسلين كانت في طريقها إلى أوربا من الشرق الأدنى في سفنهم وقد فرغت في موانئ إيران واستجابة لتدفق البروسلين الصيني فقد قام الإيرانيون بجهود كبيرة لتقليده .","type":"صحن","holder":"متحف الآغا خان","dates":"تقريبا 1640","location":"تورنتو, أونتاريو","dimensions":"القطر : 46.4 سم","provenance":"إيران ، كرمان","obtention":"أشتريت من مزاد","workshop":"علامة صانع الفخار المربعة السوداء على قاعدته","author":"Alessandra Cirelli","translator":"أحمد باسل رضوان","keywords":["صحن ، أزرق ، أبيض ، أزرق وأبيض ، صناعة الفخار ، صيني ، عجينة الفخار ، تزجيج تحتي ، بورسلين"],"materials":["جسم من عجينة الفخار ، مطلي تحت الزجاج بخطوط الكوبالت والخطوط السوداء الرفيعة"]},"470d797e-486d-5fa3-a961-b3a1527eec07":{"name":"طبق","short_description":"طبق كبير من البورسلين الأبيض عليه تزجيج بلون أزرق كوبالتي، في وسطه إطار دائري داخله كتابات، تحيط به أربع دوائر وضعت على مسافات متساوية وتضم نفس النص. توجد علامة من ستة أحرف داخل قاعدة الطبق بالخط الهونجزهاي محصورة داخل دائرة، يحدها خط مزدوج. في الميدالية الوسطى كتبت العبارة التالية: \"سلم تسليما كثيرا كبيرا بفضلك ورحمتك يا أرحم الراحمين\". أما في الميداليات المحيطة بها، فكتبت العبارة التالية: \"لا فتى إلا علي لا سيف إلا ذو الفقرة [الفقار] وعلي هو الحق لا موت أصيب إلا بالأجل\". وأما الكتابات حول حافة الطبق فهي كالتالي: \"ناد عليا مظهر العجائب/ تجده عونا لك في النوائب/المعولي إلى الله حاجت/كل هم وغم سينجلي بنبوتك يا محمد وبولايتك يا علي يا علي يا علي/بحق ذي الملك والملكوت/ اعتصمت بذي العزة والقدرة والجبروت/ وتوكلنا على الذي لا ينام ولا يموت/دخلت في حرم الله وفي حفظ الله من شر البريت [البرية] أجمعين بحق حم بحق كهيعص وعسق لا حول ولا قوت [قوة] إلا بالله العلي العظيم صلى الله على المسطفى [المصطفى] محمد وآله أجمعين.","holder":"دار الآثار الإسلامية","dates":"912-894 هـ \\ 1488-1505 م","location":"مدينة الكويت","provenance":"الصين","dynasty":"أسرة هونجزهاي"},"a5f7ac5a-c7e3-5149-8a1c-17cd76006305":{"name":"قوارير ماء زمزم مختومة من البورسلين صينية باللون الأزرق والأبيض","short_description":"يقع بئر زمزم تقريبا على عمق 30 مترا ويبعد نحو 20 مترا شرق الكعبة وينبع من وادي إبراهيم. ومن المعروف أن النبي كان يشرب من البئر ويستخدم ماءه لأغراض مهمة . والحديث الأكثر شهرة المتعلق بزمزم يقول أن \"\" زمزم لما شرب له \"\" . وبالتالي مع الزمن تم استخدام الماء للعديد من الأغراض : في القبور وتفادي الأذى ولشفاء الأمراض وفي مناسبات للحصول على البركة.الأمثلة المشابهة لهذه القوارير هي في قصر توبكابي في إسطنبول وقد استخدمت خلال مناسبات تتضمن خلعة النبي . وخلال هذه المناسبات فقد تم تغطيس الخلعة بماء زمزم وما كان يقطر من اللباس كان يجمع في قوارير مشابهة لهذه. والأنواع المماثلة الأخرى كانت ترسل ببساطة من مكة إلى إسطنبول وتحتوي ماء زمزم وتغلق بالجلد وتخاط وتختم بالشمع. ويعتقد ان البئر قد اكتشف من قبل هاجر وإسماعيل بعد أن تركا من قبل إبراهيم في مكة. وقد أعيد اكتشافه لاحقا من قبل عبد المطلب جد النبي محمد والذي يعتقد أنه حفر آبارا عديدة أهمها زمزم. ومن ذلك الحين فإن مسؤولية تأمين الماء للحجاج بقيت على عاتق أحد أبنائه. والماء من بئر زمزم كان يجمع سابقا في دلاء بواسطة آلية مكونة من حبل وبكرة وبعدها ينقل إلى أوعية فخارية .والآن يدار البئر كليا تحت الأرض من قبل مضخات كهربائية وينتج مصنع الملك عبد الله مياه زمزم بمعدل 200,000 قارورة من الماء يوميا.","type":"قارورة ، بورسلين ، حاوية ، قارورة","holder":"عهدة عائلة الخليلي – مجموعة ناصر د. الخليلي للفن الإسلامي","dates":"القرن التاسع عشر","location":"لندن","dimensions":"21.4 × 11.5 سم","method_for_datation":"التاريخ ومكان صنع القطعة يستند لأسس الطراز وبالمقارنة مع قطع مشابهة في متحف توبكابي .","provenance":"الصين","bibliography":"Aydin, H., *Sacred Trusts: Pavilion of the Sacred Relics (Topkapi Palace Museum, Istanbul), The Fountain*, 2005.*Zamzam*, in Saudi Geological Survey (https://sgs.org.sa/English/Topics/Pages/Zamzam.aspx last accessed 08-07-2019)","dynasty":"كينغ","author":"Qaisra Khan","translator":"أحمد باسل رضوان","keywords":["أزرق وأبيض ، الصين ، الحجاز ، مكان مقدس ، الكعبة ، المدينة ، مسجد ، الحج ، قارورة حج ، صلاة ، النبي محمد ، دين ، مكة ، ماء"],"materials":["بورسلين ، جلد ، حبل ، شمع"]}}
1
+ {"070af261-62bc-5eb0-a1c5-2ab9fe21bf39":{"name":"طبق يحمل صورة شاب","short_description":"هذا الوعاء/ الزبدية باللون الأزرق والأبيض التي صنعت خلال العصر الصفوي تصور شابا محاطا بأشجار الكرمة ونموذج مزهر. ويرتدي الشاب توربانا (منديل) ويمسك وعاء الشراب والمصب في يديه.التصميم متأثر بنوع جديد من البورسلين الصيني المكون من طلاء بأزرق الكوبالت على سطح أبيض والذي وصل للشرق الأوسط في القرن الرابع عشر. وإن إنتاج هذه القطع المتأثرة بالفن الصيني استمر حتى القرن الثامن عشر وكما في هذا الصحن فإن القطع يمكن أن تشبه بشكل وثيق القطع الأصلية الصينية. ولكن كتصميم فارسي نوعي فإن شكل هذا الوعاء الخاص يعكس طرز الرسم المحلية ويوجد في لوحة منمنمة إيرانية من القرن السادس عشر إلى الثامن عشر. واستنادا إلى طرازه يمكن افتراض أن هذا الوعاء ينتمي لما يعرف بمجموعة أوعية كوباشي. ويشير الاسم إلى بلدة صغيرة في داغستان في منطقة القوقاز حيث وجدت كميات من الفخار المزجج بدون الإشارة إلى أصلها أو مكان العثور عليها. ونتيجة للفحوصات الطبقية لباطن الأرض فإن بعض هذه القطع يمكن الآن تحديد أنها من سمرقند ونيسابور (لمزيد من المعلومات أنظر Fehervari 2000 ، صفحة 271-291).","type":"صحن","holder":"متحف الفن والحرف (MKG)","dates":"هجري 1085 – 1111 / ميلادي أواخر القرن السابع عشر","location":"هامبورغ","dimensions":"الارتفاع : 6.7 سم ، القطر : 32.3 سم","method_for_datation":"الزبدية لها مزايا خاصة بالعصر الصفوي","provenance":"شمال إيران","obtention":"أشتريت في عام 1956 من تمويل من مؤسسة كايمب للفن التاريخية","bibliography":"Fehervari, G., *Ceramics of the Islamic world: in the Tareq Rajab Museum*, London: I.B. Tauris, 2000. \nGray, B., *Studies in Chinese and Islamic Art, Volume II: Chinese Ceramics and Islamic Art*, London: Pindar Press, 1987. \nGolombek, Lisa (ed), *Persian Pottery in the First Golden Age*, Leiden: Brill, 2014. \nJakobsen, K., *Islamische Keramik*, Hamburg: Bilderhefte des Museums für Kunst und Gewerbe, 1959. \nKraft, Eva (ed), *Die Campe’sche Historische Kunststiftung* Hamburg: Erwerbungen seit 1949, Hamburg: Hamburger Kunsthalle, 1964.","dynasty":"عصر الدولة الصفوية","translator":"أحمد باسل رضوان","keywords":["صفوي ، كوباتشي ، تأثير صيني"],"materials":["آنية خزفية ، أزرق الكوبالت تحت الزجاج ، آنية كوباتشي"]},"3d81aec6-b59f-5b48-b482-d6cde0cf5bda":{"name":"صحن أزرق وأبيض يعتمد على نموذج صيني","short_description":"وجدت صناعة الفخار الصينية طريقها إلى الشرق الأوسط قبل الإسلام ولكن تأثيرها أخذ أهمية جديدة بعد وقت قصير من تأسيس الإمبراطورية العباسية في عام 750 وانتقلت العاصمة من سوريا إلى العراق. وظهرت الأشكال الصينية في منتجات القرن التاسع من الأفران في البصرة ، العراق وقلّد صانعو الفخار الجسم الأبيض بزيادة تعتيم زجاجهم بإضافة القصدير. وتأثير البضائع الصينية كان يتجلى بشكل أكبر في العصر المغولي عندما حكم الإلخانيون (1256-1353 ) وهم أقارب للمغول حكام الصين (سلالة يوان 1279-1368) إيران ولكن لا شيء يقارن بالتأثير الشامل للبورسلين المستورد الصيني الأزرق والأبيض على الإنتاج الفارسي من الفخار. ومن حوالي عام 1600 فإن دفعة جديدة لتجارة البورسلين أتت من تأسيس الشركة الهولندية والإنجليزية لشرق الهند حيث أن كميات كبيرة من البورسلين كانت في طريقها إلى أوربا من الشرق الأدنى في سفنهم وقد فرغت في موانئ إيران واستجابة لتدفق البروسلين الصيني فقد قام الإيرانيون بجهود كبيرة لتقليده .","type":"صحن","holder":"متحف الآغا خان","dates":"تقريبا 1640","location":"تورنتو, أونتاريو","dimensions":"القطر : 46.4 سم","provenance":"إيران ، كرمان","obtention":"أشتريت من مزاد","workshop":"علامة صانع الفخار المربعة السوداء على قاعدته","author":"Alessandra Cirelli","translator":"أحمد باسل رضوان","keywords":["صحن ، أزرق ، أبيض ، أزرق وأبيض ، صناعة الفخار ، صيني ، عجينة الفخار ، تزجيج تحتي ، بورسلين"],"materials":["جسم من عجينة الفخار ، مطلي تحت الزجاج بخطوط الكوبالت والخطوط السوداء الرفيعة"]},"470d797e-486d-5fa3-a961-b3a1527eec07":{"name":"طبق","short_description":"طبق كبير من البورسلين الأبيض عليه تزجيج بلون أزرق كوبالتي، في وسطه إطار دائري داخله كتابات، تحيط به أربع دوائر وضعت على مسافات متساوية وتضم نفس النص. توجد علامة من ستة أحرف داخل قاعدة الطبق بالخط الهونجزهاي محصورة داخل دائرة، يحدها خط مزدوج. في الميدالية الوسطى كتبت العبارة التالية: \"سلم تسليما كثيرا كبيرا بفضلك ورحمتك يا أرحم الراحمين\". أما في الميداليات المحيطة بها، فكتبت العبارة التالية: \"لا فتى إلا علي لا سيف إلا ذو الفقرة [الفقار] وعلي هو الحق لا موت أصيب إلا بالأجل\". وأما الكتابات حول حافة الطبق فهي كالتالي: \"ناد عليا مظهر العجائب/ تجده عونا لك في النوائب/المعولي إلى الله حاجت/كل هم وغم سينجلي بنبوتك يا محمد وبولايتك يا علي يا علي يا علي/بحق ذي الملك والملكوت/ اعتصمت بذي العزة والقدرة والجبروت/ وتوكلنا على الذي لا ينام ولا يموت/دخلت في حرم الله وفي حفظ الله من شر البريت [البرية] أجمعين بحق حم بحق كهيعص وعسق لا حول ولا قوت [قوة] إلا بالله العلي العظيم صلى الله على المسطفى [المصطفى] محمد وآله أجمعين.","holder":"دار الآثار الإسلامية","dates":"912-894 هـ \\ 1488-1505 م","location":"مدينة الكويت","provenance":"الصين","dynasty":"أسرة هونجزهاي"},"a5f7ac5a-c7e3-5149-8a1c-17cd76006305":{"name":"قوارير ماء زمزم مختومة من البورسلين صينية باللون الأزرق والأبيض","short_description":"يقع بئر زمزم تقريبا على عمق 30 مترا ويبعد نحو 20 مترا شرق الكعبة وينبع من وادي إبراهيم. ومن المعروف أن النبي كان يشرب من البئر ويستخدم ماءه لأغراض مهمة . والحديث الأكثر شهرة المتعلق بزمزم يقول أن \"\" زمزم لما شرب له \"\" . وبالتالي مع الزمن تم استخدام الماء للعديد من الأغراض : في القبور وتفادي الأذى ولشفاء الأمراض وفي مناسبات للحصول على البركة.الأمثلة المشابهة لهذه القوارير هي في قصر توبكابي في إسطنبول وقد استخدمت خلال مناسبات تتضمن خلعة النبي . وخلال هذه المناسبات فقد تم تغطيس الخلعة بماء زمزم وما كان يقطر من اللباس كان يجمع في قوارير مشابهة لهذه. والأنواع المماثلة الأخرى كانت ترسل ببساطة من مكة إلى إسطنبول وتحتوي ماء زمزم وتغلق بالجلد وتخاط وتختم بالشمع. ويعتقد ان البئر قد اكتشف من قبل هاجر وإسماعيل بعد أن تركا من قبل إبراهيم في مكة. وقد أعيد اكتشافه لاحقا من قبل عبد المطلب جد النبي محمد والذي يعتقد أنه حفر آبارا عديدة أهمها زمزم. ومن ذلك الحين فإن مسؤولية تأمين الماء للحجاج بقيت على عاتق أحد أبنائه. والماء من بئر زمزم كان يجمع سابقا في دلاء بواسطة آلية مكونة من حبل وبكرة وبعدها ينقل إلى أوعية فخارية .والآن يدار البئر كليا تحت الأرض من قبل مضخات كهربائية وينتج مصنع الملك عبد الله مياه زمزم بمعدل 200,000 قارورة من الماء يوميا.","type":"قارورة ، بورسلين ، حاوية ، قارورة","holder":"عهدة عائلة الخليلي – مجموعة ناصر د. الخليلي للفن الإسلامي","dates":"القرن التاسع عشر","location":"لندن","dimensions":"21.4 × 11.5 سم","method_for_datation":"التاريخ ومكان صنع القطعة يستند لأسس الطراز وبالمقارنة مع قطع مشابهة في متحف توبكابي .","provenance":"الصين","bibliography":"Aydin, H., *Sacred Trusts: Pavilion of the Sacred Relics (Topkapi Palace Museum, Istanbul), The Fountain*, 2005.*Zamzam*, in Saudi Geological Survey (https://sgs.org.sa/English/Topics/Pages/Zamzam.aspx last accessed 08-07-2019)","dynasty":"كينغ","author":"Qaisra Khan","translator":"أحمد باسل رضوان","keywords":["أزرق وأبيض ، الصين ، الحجاز ، مكان مقدس ، الكعبة ، المدينة ، مسجد ، الحج ، قارورة حج ، صلاة ، النبي محمد ، دين ، مكة ، ماء"],"materials":["بورسلين ، جلد ، حبل ، شمع"]}}
package/translations/items.en.json CHANGED
@@ -1 +1 @@
1
- {"070af261-62bc-5eb0-a1c5-2ab9fe21bf39":{"name":"Plate with a picture of a youth","short_description":"Made during the Safavid period, this blue-and-white bowl depicts a young man surrounded by grape vines and a floral pattern. The figure wears a turban (*mandil*) and holds a drinking bowl and a vessel in his hands. \nThe design is influenced by a new type of Chinese porcelain, consisting of cobalt blue painting on a white surface, which reached the Middle East in the 14 century. The production of these Chinese-influenced objects continued well into the eighteenth century. As with this dish, the objects can bear close resemblance to Chinese originals. As a typical Persian depiction, however, the motif of this specific bowl reflects local painting styles and is found in Iranian miniature painting from the 16th to the 18th century. Based on its style, it can be assumed that this bowl belongs to the so-called Kubachi ware group. The name refers to a small town in Dagestan in the Caucasus region where a corpus of glazed pottery was found without any reference to their origin or provenance. As a result of petrographic examinations, some of those objects can now be located to Samarkand and Nishapur.","type":"Dish","holder":"MKG Museum for Applied Arts","dates":"Hegira 1085-1111 / late 17th century","location":"Hamburg","dimensions":"Height: 6.7cm, Diameter: 32.3cm","method_for_datation":"The bowl has features specific to the Safavid period.","provenance":"Northern Iran","obtention":"Purchased in 1956 with funds from the Campe's Art Historical Foundation.","bibliography":"Fehervari, G., *Ceramics of the Islamic world: in the Tareq Rajab Museum*, London: I.B. Tauris, 2000: 271-291. \nGolombek, Lisa (ed), *Persian Pottery in the First Golden Age*, Leiden: Brill, 2014. \nGray, B., *Studies in Chinese and Islamic Art, Volume II: Chinese Ceramics and Islamic Art*, London: Pindar Press, 1987. \nJakobsen, K., *Islamische Keramik*, Hamburg: Bilderhefte des Museums für Kunst und Gewerbe, 1959. \nKraft, Eva (ed), *Die Campe’sche Historische Kunststiftung* Hamburg: Erwerbungen seit 1949, Hamburg: Hamburger Kunsthalle, 1964.","dynasty":"Safavid","copy_editor":"Caitlin Link","keywords":["Chinese influence","kubachi","Safavid"],"materials":["cobalt blue under the glaze","Fritware","Kubachi ware"]},"074e983d-abec-5f2a-aa65-d155420f43d0":{"name":"Water bottle","short_description":"Zamzam bottle acquired by Franks, 1883. Chinese porcelain.","type":"Bottle","holder":"The British Museum","dates":"Acquired in 1883","location":"London","provenance":"China","keywords":["Pilgrimage","hajj","Hijaz","Mecca","Ka'ba","collection","collector","China","chinese motifs","travel","traveller"]},"33fcf5d8-adfd-5c10-84bb-8756c9079c6e":{"name":"Coffee set","description":"Set contains tray and six porcelain inner cups with copper handles and saucers.","type":"Metalwork","holder":"National Museum in Kraków","initial_owner":"Muzeum Techniczno-Przemysłowe w Krakowie / Industrial Museum in Kraków","dates":"13th century Hegira / 19th century AD","location":"Kraków","dimensions":"Tray diameter: 34cm","method_for_datation":"Dating and origin based on stylistic grounds and similar pieces from other collections.","method_for_provenance":"Material and technique are characteristic for Turkish metalwork production in this period","provenance":"Turkey","obtention":"Gifted to the Industrial Museum in Kraków by Zdzisław Hordyński in 1920; collection taken over by NMK in 1950.","dynasty":"Ottomans (AH 698–1340 / AD 1299-1922)","author":"Monika Paś","keywords":["coffee","Islam"],"materials":["forged, engraved copper","Porcelain","traces of silver plating"]},"3d81aec6-b59f-5b48-b482-d6cde0cf5bda":{"name":"Blue-and-white dish based on a Chinese model","short_description":"Chinese pottery had found its way into the Middle East before Islam, but its impact took on new importance shortly after the founding of the Abbasid Empire in 750 and the move of the capital from Syria to Iraq. Chinese shapes appeared in the 9th-century products of the kilns at Basra, Iraq, and potters emulated the white body by increasing the opacity of their glazes by adding tin. The impact of Chinese goods was especially felt during the Mongol period, when the Ilkhanids (1256–1353)—relatives of the Mongol rulers of China (Yuan dynasty 1279–1368)—ruled Iran. However, nothing compares with the overwhelming influence of Chinese blue-and-white porcelain imports on Persian pottery. From around 1600, a new boost to the porcelain trade came from the founding of the Dutch and English East Indies companies. Large quantities of porcelain, on its way to Europe from the Far East in their ships, were off-loaded in the ports of Iran. In response to this influx of Chinese porcelain, Persian potters made great efforts to simulate it.","type":"Dish","holder":"Aga Khan Museum","dates":"ca. 1640","location":"Toronto, Ontario","dimensions":"Diameter: 46.6cm","provenance":"Iran, Kerman","obtention":"Purchased at auction","workshop":"Black square potter’s mark on base","dynasty":"Safavid","keywords":["blue","blue-and-white","chinese","Dish","Porcelain","pottery","stonepaste","underglaze","white"],"materials":["Stonepaste body, underglaze-painted with cobalt and thin black lines"]},"470d797e-486d-5fa3-a961-b3a1527eec07":{"name":"Dish","short_description":"Large white porcelain dish with cobalt blue glaze decorated with a central inscribed roundel surrounded by four evenly spaced roundels each filled with an identical inscription. The interior of the foot is a Hongzhi six-character mark withing a a double line roundel. \nIn the central roundel: \"Bestow numerous blessings and great honour upon him for You are the Most Merciful of those who show mercy.\" In the surrounding roundels, a repetition of: \"There is no youth other than \\`Ali There is no sword other than Zulficar And \\`Ali is the Rightful Death will only strike at the appointed time.\" \nAround the rim: \"In the name of God the Compassionate, the Merciful Call unto \\`Ali the paragon of wonders, you shall find him of help in your misfortune. He who is relied upon \\[to intercede\\] before God for all needs All anguish and all sorrow shall disappear, through your Prophethood Oh Muhammad and through your Divine trusteeship, Oh \\`Ali, Oh \\`Ali, Oh \\`Ali By the Divine Truth of The Absolute Sovereign of all things I take refuge in He Who has the glory, the might and the power And we put our trust in He Who slumbers and perishes not I take refuge in God's sanctuary, and in His protection from the evil of all beings By the truth of \"ham\", by the truth of \"kahi\\`us\" and \"\\`asaq\" There is neither power nor strength but in God, The Most High, The Supreme May the blessing of God be upon Muhammad Mustafa (the Chosen) and his family collectively.\"","type":"Vessels & receptacles, porcelain","holder":"Dar al-Athar al-Islamiyyah","dates":"Hegira 894–912 / AD 1488–1505","location":"Kuwait City","provenance":"China","dynasty":"Hongzhi Dynasty","keywords":["China","Dish","Glaze"]},"54677b11-d256-5fc3-8a09-c575b3c60376":{"name":"Langenthal vase","description":"The amphora-shaped flower vase was produced in the porcelain factory of Langenthal (Canton of Bern) founded in 1906. The vase featuring large, stylized flowers with an Asian touch was hand-painted in 1924 by Fernand Renfer, the company’s artistic director. Its modernistic look is inspired by the style called Art Deco which spread from France in the wake of the famous Parisian Exposition internationale des Arts décoratifs et industriels modernes. Renfer’s entry into the Langenthal factory in 1920 marked the beginning of an extremely creative phase in the 1920s and 1930s with an output of top-quality and aesthetically highly appealing ware. During the same period the enterprise also joined the design association Swiss Werkbund and regularly employed artists as designers. The vase was part of a major private collection of early Langenthal porcelain, which the Swiss National Museum was able to acquire in 2007.","type":"Porcelain","holder":"Swiss National Museum","owner":"Swiss Confederation","dates":"Around 1920","location":"Zurich","dimensions":"H: 25,8cm, Diameter: 19cm","method_for_datation":"Stamp on vase","provenance":"Porcelain Factory Langenthal","obtention":"Bought in 2007","workshop":"Porcelain Factory Langenthal","keywords":["amphora shape","painted","Porcelain","Porcelain Factory Langenthal","vase"],"materials":["painted","Porcelain"]},"5e131b15-3042-5b4a-bc07-e72c9fb0b7fb":{"name":"Figures in Turkish style","description":"In these two porcelain figures, it is showed through the clothes, and combined with the Rococo style of the bases. Produced by many European manufactures at the time, this kind of objects could be easily found in rooms as the *fumoir*, usually decorated in an Orientalist style to recreate exoticism.","type":"Decorative Arts; Porcelain","holder":"National Museum of Romanticism","dates":"Second third of the 19th century","location":"Madrid","dimensions":"31 x 15 x 14 cm / 32 x 15 x 14 cm","provenance":"France","author":"Isabel Ortega Fernández","copy_editor":"Anne Dowell","keywords":["Production of applied art in Europe in the Islamic mode","Turkish influence"],"materials":["Moulded; enamelled, painted and gilded porcelain"]},"677db211-c58d-50b1-b232-635d73f3327c":{"name":"Coolers for glasses","alternate_name":"Monteith","description":"A pair of bulgy coolers with short, broad, ringed necks topped by deep crenellations in the form of crowns. They show traces of side handles that are now broken off. The body bears the Sampaio e Melo coat of arms, painted in underglaze cobalt blue and overglaze iron red, green and gold enamels. As had happened with pieces commissioned by the Portuguese in the 16th and 17th centuries, the Chinese potters interpreted emblems and the coat of arms in their own way transforming a heraldic element, the lambrequin, for example, into a strictly decorative, complex arabesque drawing. The rest of the decoration is made up of sprays of flowers in Chinese *imari* colours (underglaze cobalt blue, and overglaze iron-red and gold) and floral borders. \nThe shape was probably inspired by an English silver cooler known as a monteith, which had a removable mount adapted at the top, allowing for the cooling of both bottles and, with the mount in place, glasses. The name Monteith, according to some authors, refers to an eccentric Scottish gentleman, “M. Monteith”, the hem of whose kilt was said to have been indented in the same fashion as the monteith. Other authors present Delft faience from the Netherlands as a possible source of inspiration. \nThe commission of these vessels have been attributed to members of different Portuguese families, namely Manuel Corte Real de Sampaio from the 5th Government Council of India (1668–1671); Francisco José de Sampaio Melo e Castro, 66th Governor and 40th Viceroy to India from 1720 to 1723; and to the noble family Melo Sampaio, established in the so-called Northern Province of Portuguese India, first in Tana and Baçaim and finally in Goa. \nThe vessels would have been used to keep drinks cool and are part of a large and impressive set. Such vessels were known in the Middle Age, having become fashionable in various countries after being adopted by the court of Louis XIV.","short_description":"This pair of coolers with another pair with the same shape and decoration is unique both in type and shape among the export Chinese porcelain. They are part of a magnificent set that includes cutlery cases, sugar holders and special bottles with covers and trays. The like of this set has not been copied or produced in Chinese export porcelain for other Portuguese or foreign patrons.","type":"Porcelain","holder":"National Museum of Ancient Art","owner":"Museu Nacional de Arte Antiga","initial_owner":"Unknown","dates":"c. 1700–1720","location":"Lisbon, Lisbon","dimensions":"H: 40 cm; w: 48 cm","place_of_production":"China, Jingdezhen kilns, Jiangxi province","method_for_datation":"According to prints of the medieval period it was common throughout Europe,namely around 1683, for large metallic basins with handles to be placed on the ground to hold bottles and ewers during mealtimes. In time these metal prototypes were sent to China by the Portuguese merchants, the East India companies from several European countries and from the USA, as well as by private merchants. Chinese potters copied these vessels in porcelain and decorated them according to clients’ taste.","provenance":"Convent of Santos-o-Novo, Lisbon","obtention":"In 1911 both objects were transferred from the Convent of Santos-o-Novo to the Museu Nacional da Arte Antiga.","bibliography":"Gruber, A., *L'Argenterie de Maison du XVIe au XIXe siècle*, Fribourg, 1982. \nTeixeira, J. M. et. al., *Le Triomphe du Barroque*, Brussels, 1991. \nMatos, M. A. de Pinto, “Porcelanas de Encomenda. Histórias de um Intercâmbio Cultural entre Portugal e a China”, *Oceanos*, No. 14, CNCDP, Jun, 1993. \nAlves, J. S., Matos, M. A. de Pinto, Antunes, M. S. Lobo and Loureiro, R. M., *Caminhos da Porcelana. Dinastias Ming e Qing*, Lisbon, 1998. \nAntunes, M. S. Lobo, *Porcelanas, Lisboa: Fundação Ricardo Espírito Santo Silva*, Lisbon, 1999.","workshop":"Qing-Dynasty porcelain","dynasty":"Qing Dynasty (1644–1911)","copyright":"Copyright images: Divisão de Documentação Fotográfica/ Instituto dos Museus e da Conservação, I.P.","author":"Maria Antónia Pinto de Matos","translator":"Ana Mântua","translation_copy_editor":"Mandi Gomez","keywords":["aristocracy","China","Chinese porcelain","coat of arms","coolers","Goa","imari","India","monteith","trade","vase"],"materials":["Porcelain with underglaze cobalt blue and overglaze iron-red and gold enamels, so-called “Chinese imari “"]},"6f1eea68-18d9-59b6-a602-617d05d6a7ae":{"name":"Sprinkler","short_description":"A sprinkler with a low base, spherical body and a narrow tapering neck. The body is decorated with a fish-scale motif anf four stylised leaves. The neck bears a dotted motif and blue motifs. A product of a workshop in France specialising in Islamic shapes and decoration.","type":"Ceramic","holder":"Benaki Museum","dates":"19th century","location":"Athens","provenance":"France","author":"Mina Moraitou","keywords":["Iznik","imitation"],"materials":["Porcelain"]},"8d76b341-a93b-5d3a-8003-baf0071d63f7":{"name":"Vase","description":"The Orientalism or Neo-Mudéjar style gave new light to old techniques like decorating ceramic with lustre; new ceramic artisans such as Pickman, in Seville, produced pieces in Neo-Mudéjar or Orientalist style. This piece won an award in one of the International Exhibitions. It reproduces the shape of the vase known as \"The Alhambra vase\" in lustre decoration.","type":"Ceramic","holder":"National Museum of Decorative Arts","dates":"1899–1930","location":"Madrid","dimensions":"82,5 x 21 cm","provenance":"Pickman y compania, La Cartuja (Seville)","author":"Ana Cabrera","copy_editor":"Anne Dowell","keywords":["Neo-mudejar style","Applied Arts"],"materials":["Moulded porcellaneous earthenware; painted with enamel and gilded"]},"a5f7ac5a-c7e3-5149-8a1c-17cd76006305":{"name":"Two Chinese blue-and-white porcelain sealed ‘Zamzam’ water bottles","short_description":"Prophet was known to drink from the well and use the water for significant purposes. The most famous *hadith* (Prophetic saying) regarding Zamzam states that the water is good for whatever purpose it is intended. Thus, over time, the water has been used for many purposes: in graves, to prevent harm, to cure and in ceremonies to obtain blessings. \nSimilar examples to these bottles are in the Topkapi Palace in Istanbul and were used during ceremonies involving the mantle of the Prophet. During these ceremonies the mantle was dipped in Zamzam water and what dripped from the cloth was then collected in bottles similar to these. Other comparable types were simply sent from Mecca to Istanbul containing Zamzam water and closed with leather, string and sealed with wax. \nThe well is believed to have been discovered by Hagar and Ismael, after being abandoned by Abraham in Mecca. It was later rediscovered by ‘Abd al-Muttalib, Prophet Muhammad’s grandfather, who is credited with having dug several wells, most importantly that of Zamzam. From then on the responsibility of giving water to pilgrims was to remain in the lineage of one of his sons. \nWater from the well of Zamzam was previously collected in buckets by a rope pulley mechanism and then transferred to earthenware vessels. Now the well is entirely managed subterraneously by electric pumps and the King Abdullah Zamzam Water Factory produces approximately 200,000 bottles of water a day.","type":"Bottle; Porcelain; Containter; Flask","holder":"Khalili Family Trust – Hajj and the Arts of Pilgrimage Collection","dates":"19th century","location":"London","dimensions":"21.4x11.5cm","method_for_datation":"Date and provenance based stylistic grounds and by comparison with similar items in the Topkapi Palace Museum.","provenance":"China","bibliography":"Aydin, H., *Sacred Trusts: Pavilion of the Sacred Relics (Topkapi Palace Museum, Istanbul), The Fountain*, 2005. \n*Zamzam*, in Saudi Geological Survey ([https://sgs.org.sa/English/Topics/Pages/Zamzam.aspx](https://sgs.org.sa/English/Topics/Pages/Zamzam.aspx) last accessed 08-07-2019)","dynasty":"Qing","author":"Qaisra Khan","keywords":["blue-and-white","China","Hijaz","Holy place","Ka'ba","Mecca","Medina","Mosque","pilgrim flask","pilgrimage","prayer","Prophet Muhammad","Religion","water"],"materials":["Porcelain, leather, string, wax"]},"a858e4fd-51fa-5212-b9c8-f9dc77b93dee":{"name":"The Four Continents","description":"On a low scalloped base, with relief decoration, are four female figures – allegories of the four continents. Europe, presented as the Ruler, is on horseback and has one leg resting on a globe. At her feet are an open book, a lute, fasces and a scroll. Africa, seated on a lion, holds an elephant's tusk in her right hand with smaller tusks and snakes at her feet. Asia, seated on a camel, has one leg on a pumpkin; alongside the pumpkin is a vessel from which smoke is rising. America is an American Indian on the back of a crocodile. She holds an eagle in her left hand, her right foot resting on decapitated human head on the ground. All the figures are marked with the imprinted seal of the Viennese porcelain manufactory (the Austrian shield) and the mark *bossierer* (M).","short_description":"A group of unpainted porcelain female figures – allegories of the four continents – Europe, Africa, Asia and America.","type":"Allegorical figures","holder":"Museum of Arts and Crafts","dates":"1744–1749","location":"Zagreb, North-West Croatia","dimensions":"H: 19 cm; w: 18.5 cm; base: h: 15 cm; w: 10 cm","place_of_production":"Vienna","method_for_datation":"By the imprinted seal of the Viennese porcelain manufactory and stylistic analysis.","obtention":"From the Erwin Weiss Collection, Zagreb.","bibliography":"*Od svagdana do blagdana. Barok u Hrvatskoj. Katalog izložbe* (From Everyday to Holidays: Baroque in Croatia), exhibition catalogue, Zagreb, 1993, pp.  274–275. \nStaničić, S., *Porculan. Meissen-Beč. Zbirka keramike Muzeja za umjetnost i obrt, Zagreb*, Zagreb, 2004, p. 142.","workshop":"Porcelain Manufactory, Vienna","author":"Marina Bagarić","translator":"Graham McMaster","translation_copy_editor":"Mandi Gomez","keywords":["Allegory","exoticism","personification","Porcelain","relief decoration","royal manufactory","workshop"],"materials":["Unpainted porcelain group"]},"aff1ae5a-f832-5831-b8c0-8ad91d5e93ec":{"name":"Inkstand","short_description":"Inskstandish shaped like a brigantine, representing young triton blowing on a conch trumpet. Ink wells, lids and edges decorated with flowers in polychrome. Base of the inkstand is rested on waves, painted in shades of green. The inkstandish reflects the taste for nautical representations, evoking the national maritime glory, while it introduces delicate floral motifs, in the romantic style of that epoch. Painted by Victor Rousseau, master of painting in the Vista Alegre Porcelain Factory, this object is an example of the early decorative tendencies, distinguishable by the virtuosity of the drawings, intricate forms and artistic experimentation.","type":"Utilitarian ware; ceramic; porcelain","holder":"Vista Alegre Museum","dates":"1836–51","location":"Vista Alegre, Ílhavo","dimensions":"A14,5 x L27 x 11","artist_birthdate":"Date of birth unknown","artist_birthplace":"Paris, France","artist_deathdate":"1852","artist_deathplace":"Vista Alegre, Portugal","keywords":["Arts and Crafts","Daily utilitarian ware","Portugal","Vista Alegre","Factory"],"materials":["Porcelain"]},"b94cb9f7-6fcd-59f6-9089-a055c78e4311":{"name":"Hunting Picnic Trunk","description":"In the three compartments of the picnic trunk are plates, flasks, glasses, candlesticks, figurines, forks, knives, penknives, and pipes made of metal, glass and porcelain.","holder":"Museum of the Turkish and Islamic Arts","dates":"AH 12th-13th century/AD 18th century","location":"Istanbul","dimensions":"Width: 1m, height: 51 cm","method_for_provenance":"It is believed that the hunting picnic chest was sent as a gift to Sultan Abdülhamid II by Emperor Franz Joseph of Austria (1830–1916).","obtention":"The item was brought from the Istanbul University Library to the Museum of Turkish and Islamic Art in 1935.","dynasty":"Ottomans (AH 698–1340/AD 1299–1922)","materials":["Wood, velvet, glass, porcelain, metal"]},"cfa923e7-7677-5dde-b481-034397401b10":{"name":"Coffee Cup Set in Box","description":"A set of 12 blue-rimmed white porcelain coffee cups with silver holders in their original box, which is red outside and lined with blue fabric.","holder":"Museum of Turkish and Islamic Arts","dates":"13th-14th century/AD 19th century","location":"Istanbul","dimensions":"42cm x 18cm","dynasty":"Ottomans (AH 698–1340 / AD 1299–1922)","materials":["Porcelain, silver, wood, fabric, metal"]},"f88a365b-0b19-5fa2-8be0-31a30d035b7c":{"name":"Breakfast Set","description":"The breakfast set consists of a triangular tray, a sugar bowl, teapot, milk jug, high and low cups with saucers and porcelain teaspoons. The tray has rounded corners and a bevelled, scalloped rim. The teapot is potbellied with a curving handle and a tubular spout. The milk jug has a potbellied body on three short legs imitating twigs, a curved handle and short lip. The cups and the sugar bowl are simple in shape, on a low round base, and without handles. All parts of the set have gilt, lacy decorative edges. The knobs of the lids are in the shape of a rose. Each item of the set depicts a different war scene whose actors are Croatian border troops and the Pandurs of Baron Franjo Trenk, shown at moments of rest and while in action. Some of the scenes on the pieces are after Martin Engelbrecht’s prints. All items show the mark of the Meissen manufactory: crossed swords and a star, or a dot below and the impressed mark: X, P, 60, 64.","short_description":"Adorning each item of the breakfast set are polychrome painted scenes of warfare with the soldiers of the Croatian border troops and the Pandurs of Baron Franjo Trenk.","type":"Porcelain","holder":"Museum of Arts and Crafts","dates":"c. 1776","location":"Zagreb, North-West Croatia","dimensions":"Tray: 30 cm x 30 cm; height of milk jug: 8 cm; height of sugar bowl: 8 cm; height of teapot: 14 cm; height of cups: 7cm and 4.5 cm; diameter of saucers: 13.3 cm; length of spoon: 11 cm","place_of_production":"Meissen","method_for_datation":"By stylistic analysis and from the marks of the Meissen manufactory.","obtention":"Purchased from the collection of the Zagreb art collector, Levin Horvath in 1885, 1888 and 1895.","bibliography":"Staničić, S., \"Ratni prizori s hrvatskim sudionicima na porculanu meissenske proizvodnje\", *Od svagdana do blagdana: barok u Hrvatskoj* , Muzej za umjetnost i obrt, Zagreb, 1993, p. 170. \nStaničić, S., *Porculan. Meissen-Beč. Zbirka keramike Muzeja za umjetnost i obrt, Zagreb*, Zagreb, 2004, p. 60.","workshop":"Meissen Porcelain Manufactory","artist_birthdate":"1719","artist_birthplace":"Unknown","artist_deathdate":"1792","artist_deathplace":"Unknown","author":"Marina Bagarić","copy_editor":"Graham McMaster","translator":"Graham McMaster","translation_copy_editor":"Mandi Gomez","keywords":["domestic vessels","figural decoration","Ottoman","Porcelain","warfare"],"materials":["Porcelain with painted and gilded decoration"]},"f95568b2-4453-57ae-8628-5bcd17d70b23":{"name":"Tray with Oriental landscape","description":"Following the Turkish style, this tray is depicted with an Orientalist landscape that might be related to the Greek War of Independence. The man on the left is dressed in the Greek skirt called *fustanella*, worn to fight against the Ottoman Empire. The different clothes of the man on the right who is turning his back may be identified with those of a Turkish warrior or janissary.","type":"Decorative Arts; Porcelain","holder":"National Museum of Romanticism","dates":"19th century","location":"Madrid","dimensions":"27 x 27 x 2,3 cm","author":"Isabel Ortega Fernández","copy_editor":"Anne Dowell","keywords":["War","Decorative Arts","Greece","Turkey"],"materials":["Moulded; enamelled, painted and gilded earthenware"]},"f982124c-5947-5618-a36f-528cc79bcd18":{"name":"Sugar Bowl","description":"Made of white porcelain. There are two handles on the side starting from the rim and going down to the bottom. The surface is decorated with floral and leaf motifs painted in yellow gilt. The handles are also painted in yellow gilt. The cover is decorated with embossed flowers, roses and leaves painted in yellow, blue, green, pink and red.","holder":"Ankara Ethnography Museum","owner":"The Republic of Türkiye Ministry of Culture and Tourism","location":"Ankara","dimensions":"Height: 7.4cm, diameter: 14cm","dynasty":"Ottomans (AH 698–1340 / AD 1299-1922)","copy_editor":"Alvaro Miranda","materials":["Porcelain and silver"]},"fd62bb2a-82f4-581c-9414-fac77a74a469":{"name":"Coffee pot","short_description":"This coffee pot is part of a set ordered by the King Fernando of Saxe Coburg, husband of queen Maria II. The lid bears the king’s monogram “F”, positioned underneath the crown. This set was painted by Gustave Fortier, master of panting in the Factory between 1852 and 1857 and again between 1861 and 1869. He introduces a lyrical and romantic style, manifest in the painting of flowers, in the introduction of delicate patterns and pale shades, tendencies which will define the factory’s decoration during his stay.","type":"Utilitarian ware; ceramic; porcelain","holder":"Vista Alegre Museum","dates":"1852–54","location":"Vista Alegre, Ílhavo","dimensions":"A 24,7 x 16 x 25","keywords":["Arts and Crafts","Daily utilitarian ware","Portugal","Vista Alegre","Factory"],"materials":["Porcelain"]}}
1
+ {"070af261-62bc-5eb0-a1c5-2ab9fe21bf39":{"name":"Plate with a picture of a youth","short_description":"Made during the Safavid period, this blue-and-white bowl depicts a young man surrounded by grape vines and a floral pattern. The figure wears a turban (*mandil*) and holds a drinking bowl and a vessel in his hands. \nThe design is influenced by a new type of Chinese porcelain, consisting of cobalt blue painting on a white surface, which reached the Middle East in the 14 century. The production of these Chinese-influenced objects continued well into the eighteenth century. As with this dish, the objects can bear close resemblance to Chinese originals. As a typical Persian depiction, however, the motif of this specific bowl reflects local painting styles and is found in Iranian miniature painting from the 16th to the 18th century. Based on its style, it can be assumed that this bowl belongs to the so-called Kubachi ware group. The name refers to a small town in Dagestan in the Caucasus region where a corpus of glazed pottery was found without any reference to their origin or provenance. As a result of petrographic examinations, some of those objects can now be located to Samarkand and Nishapur.","type":"Dish","holder":"MKG Museum for Applied Arts","dates":"Hegira 1085-1111 / late 17th century","location":"Hamburg","dimensions":"Height: 6.7cm, Diameter: 32.3cm","method_for_datation":"The bowl has features specific to the Safavid period.","provenance":"Northern Iran","obtention":"Purchased in 1956 with funds from the Campe's Art Historical Foundation.","bibliography":"Fehervari, G., *Ceramics of the Islamic world: in the Tareq Rajab Museum*, London: I.B. Tauris, 2000: 271-291. \nGolombek, Lisa (ed), *Persian Pottery in the First Golden Age*, Leiden: Brill, 2014. \nGray, B., *Studies in Chinese and Islamic Art, Volume II: Chinese Ceramics and Islamic Art*, London: Pindar Press, 1987. \nJakobsen, K., *Islamische Keramik*, Hamburg: Bilderhefte des Museums für Kunst und Gewerbe, 1959. \nKraft, Eva (ed), *Die Campe’sche Historische Kunststiftung* Hamburg: Erwerbungen seit 1949, Hamburg: Hamburger Kunsthalle, 1964.","dynasty":"Safavid","copy_editor":"Caitlin Link","keywords":["Safavid; Kubachi; Chinese influence"],"materials":["Fritware; cobalt blue under the glaze; Kubachi ware"]},"074e983d-abec-5f2a-aa65-d155420f43d0":{"name":"Water bottle","short_description":"Zamzam bottle acquired by Franks, 1883. Chinese porcelain.","type":"Bottle","holder":"The British Museum","dates":"Acquired in 1883","location":"London","provenance":"China","keywords":["Pilgrimage; hajj; Hijaz; Mecca; Ka'ba; collection; collector; China; chinese motifs; travel; traveller"]},"33fcf5d8-adfd-5c10-84bb-8756c9079c6e":{"name":"Coffee set","description":"Set contains tray and six porcelain inner cups with copper handles and saucers.","type":"Metalwork","holder":"National Museum in Kraków","initial_owner":"Muzeum Techniczno-Przemysłowe w Krakowie / Industrial Museum in Kraków","dates":"13th century Hegira / 19th century AD","location":"Kraków","dimensions":"Tray diameter: 34cm","method_for_datation":"Dating and origin based on stylistic grounds and similar pieces from other collections.","method_for_provenance":"Material and technique are characteristic for Turkish metalwork production in this period","provenance":"Turkey","obtention":"Gifted to the Industrial Museum in Kraków by Zdzisław Hordyński in 1920; collection taken over by NMK in 1950.","dynasty":"Ottomans (AH 698–1340 / AD 1299-1922)","author":"Monika Paś","keywords":["Islam; coffee"],"materials":["Porcelain; forged, engraved copper; traces of silver plating"]},"3d81aec6-b59f-5b48-b482-d6cde0cf5bda":{"name":"Blue-and-white dish based on a Chinese model","short_description":"Chinese pottery had found its way into the Middle East before Islam, but its impact took on new importance shortly after the founding of the Abbasid Empire in 750 and the move of the capital from Syria to Iraq. Chinese shapes appeared in the 9th-century products of the kilns at Basra, Iraq, and potters emulated the white body by increasing the opacity of their glazes by adding tin. The impact of Chinese goods was especially felt during the Mongol period, when the Ilkhanids (1256–1353)—relatives of the Mongol rulers of China (Yuan dynasty 1279–1368)—ruled Iran. However, nothing compares with the overwhelming influence of Chinese blue-and-white porcelain imports on Persian pottery. From around 1600, a new boost to the porcelain trade came from the founding of the Dutch and English East Indies companies. Large quantities of porcelain, on its way to Europe from the Far East in their ships, were off-loaded in the ports of Iran. In response to this influx of Chinese porcelain, Persian potters made great efforts to simulate it.","type":"Dish","holder":"Aga Khan Museum","dates":"ca. 1640","location":"Toronto, Ontario","dimensions":"Diameter: 46.6cm","provenance":"Iran, Kerman","obtention":"Purchased at auction","workshop":"Black square potter’s mark on base","dynasty":"Safavid","keywords":["Dish; blue; white; blue-and-white; pottery; chinese; stonepaste; underglaze; porcelain"],"materials":["Stonepaste body, underglaze-painted with cobalt and thin black lines"]},"470d797e-486d-5fa3-a961-b3a1527eec07":{"name":"Dish","short_description":"Large white porcelain dish with cobalt blue glaze decorated with a central inscribed roundel surrounded by four evenly spaced roundels each filled with an identical inscription. The interior of the foot is a Hongzhi six-character mark withing a a double line roundel. \nIn the central roundel: \"Bestow numerous blessings and great honour upon him for You are the Most Merciful of those who show mercy.\" In the surrounding roundels, a repetition of: \"There is no youth other than \\`Ali There is no sword other than Zulficar And \\`Ali is the Rightful Death will only strike at the appointed time.\" \nAround the rim: \"In the name of God the Compassionate, the Merciful Call unto \\`Ali the paragon of wonders, you shall find him of help in your misfortune. He who is relied upon \\[to intercede\\] before God for all needs All anguish and all sorrow shall disappear, through your Prophethood Oh Muhammad and through your Divine trusteeship, Oh \\`Ali, Oh \\`Ali, Oh \\`Ali By the Divine Truth of The Absolute Sovereign of all things I take refuge in He Who has the glory, the might and the power And we put our trust in He Who slumbers and perishes not I take refuge in God's sanctuary, and in His protection from the evil of all beings By the truth of \"ham\", by the truth of \"kahi\\`us\" and \"\\`asaq\" There is neither power nor strength but in God, The Most High, The Supreme May the blessing of God be upon Muhammad Mustafa (the Chosen) and his family collectively.\"","type":"Vessels & receptacles, porcelain","holder":"Dar al-Athar al-Islamiyyah","dates":"Hegira 894–912 / AD 1488–1505","location":"Kuwait City","provenance":"China","dynasty":"Hongzhi Dynasty","keywords":["Dish; China; Glaze"]},"54677b11-d256-5fc3-8a09-c575b3c60376":{"name":"Langenthal vase","description":"The amphora-shaped flower vase was produced in the porcelain factory of Langenthal (Canton of Bern) founded in 1906. The vase featuring large, stylized flowers with an Asian touch was hand-painted in 1924 by Fernand Renfer, the company’s artistic director. Its modernistic look is inspired by the style called Art Deco which spread from France in the wake of the famous Parisian Exposition internationale des Arts décoratifs et industriels modernes. Renfer’s entry into the Langenthal factory in 1920 marked the beginning of an extremely creative phase in the 1920s and 1930s with an output of top-quality and aesthetically highly appealing ware. During the same period the enterprise also joined the design association Swiss Werkbund and regularly employed artists as designers. The vase was part of a major private collection of early Langenthal porcelain, which the Swiss National Museum was able to acquire in 2007.","type":"Porcelain","holder":"Swiss National Museum","owner":"Swiss Confederation","dates":"Around 1920","location":"Zurich","dimensions":"H: 25,8cm, Diameter: 19cm","method_for_datation":"Stamp on vase","provenance":"Porcelain Factory Langenthal","obtention":"Bought in 2007","workshop":"Porcelain Factory Langenthal","keywords":["vase; amphora shape; porcelain; Porcelain Factory Langenthal; painted"],"materials":["Porcelain; painted"]},"5e131b15-3042-5b4a-bc07-e72c9fb0b7fb":{"name":"Figures in Turkish style","description":"In these two porcelain figures, it is showed through the clothes, and combined with the Rococo style of the bases. Produced by many European manufactures at the time, this kind of objects could be easily found in rooms as the *fumoir*, usually decorated in an Orientalist style to recreate exoticism.","type":"Decorative Arts; Porcelain","holder":"National Museum of Romanticism","dates":"Second third of the 19th century","location":"Madrid","dimensions":"31 x 15 x 14 cm / 32 x 15 x 14 cm","provenance":"France","author":"Isabel Ortega Fernández","copy_editor":"Anne Dowell","keywords":["Production of applied art in Europe in the Islamic mode; Turkish influence"],"materials":["Moulded; enamelled, painted and gilded porcelain"]},"677db211-c58d-50b1-b232-635d73f3327c":{"name":"Coolers for glasses","alternate_name":"Monteith","description":"A pair of bulgy coolers with short, broad, ringed necks topped by deep crenellations in the form of crowns. They show traces of side handles that are now broken off. The body bears the Sampaio e Melo coat of arms, painted in underglaze cobalt blue and overglaze iron red, green and gold enamels. As had happened with pieces commissioned by the Portuguese in the 16th and 17th centuries, the Chinese potters interpreted emblems and the coat of arms in their own way transforming a heraldic element, the lambrequin, for example, into a strictly decorative, complex arabesque drawing. The rest of the decoration is made up of sprays of flowers in Chinese *imari* colours (underglaze cobalt blue, and overglaze iron-red and gold) and floral borders. \nThe shape was probably inspired by an English silver cooler known as a monteith, which had a removable mount adapted at the top, allowing for the cooling of both bottles and, with the mount in place, glasses. The name Monteith, according to some authors, refers to an eccentric Scottish gentleman, “M. Monteith”, the hem of whose kilt was said to have been indented in the same fashion as the monteith. Other authors present Delft faience from the Netherlands as a possible source of inspiration. \nThe commission of these vessels have been attributed to members of different Portuguese families, namely Manuel Corte Real de Sampaio from the 5th Government Council of India (1668–1671); Francisco José de Sampaio Melo e Castro, 66th Governor and 40th Viceroy to India from 1720 to 1723; and to the noble family Melo Sampaio, established in the so-called Northern Province of Portuguese India, first in Tana and Baçaim and finally in Goa. \nThe vessels would have been used to keep drinks cool and are part of a large and impressive set. Such vessels were known in the Middle Age, having become fashionable in various countries after being adopted by the court of Louis XIV.","short_description":"This pair of coolers with another pair with the same shape and decoration is unique both in type and shape among the export Chinese porcelain. They are part of a magnificent set that includes cutlery cases, sugar holders and special bottles with covers and trays. The like of this set has not been copied or produced in Chinese export porcelain for other Portuguese or foreign patrons.","type":"Porcelain","holder":"National Museum of Ancient Art","owner":"Museu Nacional de Arte Antiga","initial_owner":"Unknown","dates":"c. 1700–1720","location":"Lisbon, Lisbon","dimensions":"H: 40 cm; w: 48 cm","place_of_production":"China, Jingdezhen kilns, Jiangxi province","method_for_datation":"According to prints of the medieval period it was common throughout Europe,namely around 1683, for large metallic basins with handles to be placed on the ground to hold bottles and ewers during mealtimes. In time these metal prototypes were sent to China by the Portuguese merchants, the East India companies from several European countries and from the USA, as well as by private merchants. Chinese potters copied these vessels in porcelain and decorated them according to clients’ taste.","provenance":"Convent of Santos-o-Novo, Lisbon","obtention":"In 1911 both objects were transferred from the Convent of Santos-o-Novo to the Museu Nacional da Arte Antiga.","bibliography":"Gruber, A., *L'Argenterie de Maison du XVIe au XIXe siècle*, Fribourg, 1982. \nTeixeira, J. M. et. al., *Le Triomphe du Barroque*, Brussels, 1991. \nMatos, M. A. de Pinto, “Porcelanas de Encomenda. Histórias de um Intercâmbio Cultural entre Portugal e a China”, *Oceanos*, No. 14, CNCDP, Jun, 1993. \nAlves, J. S., Matos, M. A. de Pinto, Antunes, M. S. Lobo and Loureiro, R. M., *Caminhos da Porcelana. Dinastias Ming e Qing*, Lisbon, 1998. \nAntunes, M. S. Lobo, *Porcelanas, Lisboa: Fundação Ricardo Espírito Santo Silva*, Lisbon, 1999.","workshop":"Qing-Dynasty porcelain","dynasty":"Qing Dynasty (1644–1911)","copyright":"Copyright images: Divisão de Documentação Fotográfica/ Instituto dos Museus e da Conservação, I.P.","author":"Maria Antónia Pinto de Matos","translator":"Ana Mântua","translation_copy_editor":"Mandi Gomez","keywords":["Chinese porcelain; *imari*; coat of arms; coolers; vase; monteith; trade; aristocracy; Goa; China; India"],"materials":["Porcelain with underglaze cobalt blue and overglaze iron-red and gold enamels, so-called “Chinese *imari* “"]},"6f1eea68-18d9-59b6-a602-617d05d6a7ae":{"name":"Sprinkler","short_description":"A sprinkler with a low base, spherical body and a narrow tapering neck. The body is decorated with a fish-scale motif anf four stylised leaves. The neck bears a dotted motif and blue motifs. A product of a workshop in France specialising in Islamic shapes and decoration.","type":"Ceramic","holder":"Benaki Museum","dates":"19th century","location":"Athens","provenance":"France","author":"Mina Moraitou","keywords":["Iznik; imitation"],"materials":["Porcelain"]},"8d76b341-a93b-5d3a-8003-baf0071d63f7":{"name":"Vase","description":"The Orientalism or Neo-Mudéjar style gave new light to old techniques like decorating ceramic with lustre; new ceramic artisans such as Pickman, in Seville, produced pieces in Neo-Mudéjar or Orientalist style. This piece won an award in one of the International Exhibitions. It reproduces the shape of the vase known as \"The Alhambra vase\" in lustre decoration.","type":"Ceramic","holder":"National Museum of Decorative Arts","dates":"1899–1930","location":"Madrid","dimensions":"82,5 x 21 cm","provenance":"Pickman y compania, La Cartuja (Seville)","author":"Ana Cabrera","copy_editor":"Anne Dowell","keywords":["Neo-mudejar style; Applied Arts"],"materials":["Moulded porcellaneous earthenware; painted with enamel and gilded"]},"a5f7ac5a-c7e3-5149-8a1c-17cd76006305":{"name":"Two Chinese blue-and-white porcelain sealed ‘Zamzam’ water bottles","short_description":"Prophet was known to drink from the well and use the water for significant purposes. The most famous *hadith* (Prophetic saying) regarding Zamzam states that the water is good for whatever purpose it is intended. Thus, over time, the water has been used for many purposes: in graves, to prevent harm, to cure and in ceremonies to obtain blessings. \nSimilar examples to these bottles are in the Topkapi Palace in Istanbul and were used during ceremonies involving the mantle of the Prophet. During these ceremonies the mantle was dipped in Zamzam water and what dripped from the cloth was then collected in bottles similar to these. Other comparable types were simply sent from Mecca to Istanbul containing Zamzam water and closed with leather, string and sealed with wax. \nThe well is believed to have been discovered by Hagar and Ismael, after being abandoned by Abraham in Mecca. It was later rediscovered by ‘Abd al-Muttalib, Prophet Muhammad’s grandfather, who is credited with having dug several wells, most importantly that of Zamzam. From then on the responsibility of giving water to pilgrims was to remain in the lineage of one of his sons. \nWater from the well of Zamzam was previously collected in buckets by a rope pulley mechanism and then transferred to earthenware vessels. Now the well is entirely managed subterraneously by electric pumps and the King Abdullah Zamzam Water Factory produces approximately 200,000 bottles of water a day.","type":"Bottle; Porcelain; Containter; Flask","holder":"Khalili Family Trust – Hajj and the Arts of Pilgrimage Collection","dates":"19th century","location":"London","dimensions":"21.4x11.5cm","method_for_datation":"Date and provenance based stylistic grounds and by comparison with similar items in the Topkapi Palace Museum.","provenance":"China","bibliography":"Aydin, H., *Sacred Trusts: Pavilion of the Sacred Relics (Topkapi Palace Museum, Istanbul), The Fountain*, 2005. \n*Zamzam*, in Saudi Geological Survey ([https://sgs.org.sa/English/Topics/Pages/Zamzam.aspx](https://sgs.org.sa/English/Topics/Pages/Zamzam.aspx) last accessed 08-07-2019)","dynasty":"Qing","author":"Qaisra Khan","keywords":["Blue-and-white; China; Hijaz; Holy place; Ka'ba; Medina; Mosque; Pilgrimage; Pilgrim Flask; Prayer; Prophet Muhammad; Religion; Water; Mecca"],"materials":["Porcelain, leather, string, wax"]},"a858e4fd-51fa-5212-b9c8-f9dc77b93dee":{"name":"The Four Continents","description":"On a low scalloped base, with relief decoration, are four female figures – allegories of the four continents. Europe, presented as the Ruler, is on horseback and has one leg resting on a globe. At her feet are an open book, a lute, fasces and a scroll. Africa, seated on a lion, holds an elephant's tusk in her right hand with smaller tusks and snakes at her feet. Asia, seated on a camel, has one leg on a pumpkin; alongside the pumpkin is a vessel from which smoke is rising. America is an American Indian on the back of a crocodile. She holds an eagle in her left hand, her right foot resting on decapitated human head on the ground. All the figures are marked with the imprinted seal of the Viennese porcelain manufactory (the Austrian shield) and the mark *bossierer* (M).","short_description":"A group of unpainted porcelain female figures – allegories of the four continents – Europe, Africa, Asia and America.","type":"Allegorical figures","holder":"Museum of Arts and Crafts","dates":"1744–1749","location":"Zagreb, North-West Croatia","dimensions":"H: 19 cm; w: 18.5 cm; base: h: 15 cm; w: 10 cm","place_of_production":"Vienna","method_for_datation":"By the imprinted seal of the Viennese porcelain manufactory and stylistic analysis.","obtention":"From the Erwin Weiss Collection, Zagreb.","bibliography":"*Od svagdana do blagdana. Barok u Hrvatskoj. Katalog izložbe* (From Everyday to Holidays: Baroque in Croatia), exhibition catalogue, Zagreb, 1993, pp.  274–275. \nStaničić, S., *Porculan. Meissen-Beč. Zbirka keramike Muzeja za umjetnost i obrt, Zagreb*, Zagreb, 2004, p. 142.","workshop":"Porcelain Manufactory, Vienna","author":"Marina Bagarić","translator":"Graham McMaster","translation_copy_editor":"Mandi Gomez","keywords":["Porcelain; allegory; personification; relief decoration; royal manufactory; workshop; exoticism"],"materials":["Unpainted porcelain group"]},"aff1ae5a-f832-5831-b8c0-8ad91d5e93ec":{"name":"Inkstand","short_description":"Inskstandish shaped like a brigantine, representing young triton blowing on a conch trumpet. Ink wells, lids and edges decorated with flowers in polychrome. Base of the inkstand is rested on waves, painted in shades of green. The inkstandish reflects the taste for nautical representations, evoking the national maritime glory, while it introduces delicate floral motifs, in the romantic style of that epoch. Painted by Victor Rousseau, master of painting in the Vista Alegre Porcelain Factory, this object is an example of the early decorative tendencies, distinguishable by the virtuosity of the drawings, intricate forms and artistic experimentation.","type":"Utilitarian ware; ceramic; porcelain","holder":"Vista Alegre Museum","dates":"1836–51","location":"Vista Alegre, Ílhavo","dimensions":"A14,5 x L27 x 11","artist_birthdate":"Date of birth unknown","artist_birthplace":"Paris, France","artist_deathdate":"1852","artist_deathplace":"Vista Alegre, Portugal","keywords":["Arts and Crafts; Daily utilitarian ware; Portugal; Vista Alegre; Factory"],"materials":["Porcelain"],"artist":"Painter: Victor Rousseau"},"b94cb9f7-6fcd-59f6-9089-a055c78e4311":{"name":"Hunting Picnic Trunk","description":"In the three compartments of the picnic trunk are plates, flasks, glasses, candlesticks, figurines, forks, knives, penknives, and pipes made of metal, glass and porcelain.","holder":"Museum of the Turkish and Islamic Arts","dates":"AH 12th-13th century/AD 18th century","location":"Istanbul","dimensions":"Width: 1m, height: 51 cm","method_for_provenance":"It is believed that the hunting picnic chest was sent as a gift to Sultan Abdülhamid II by Emperor Franz Joseph of Austria (1830–1916).","obtention":"The item was brought from the Istanbul University Library to the Museum of Turkish and Islamic Art in 1935.","dynasty":"Ottomans (AH 698–1340/AD 1299–1922)","materials":["Wood, velvet, glass, porcelain, metal"]},"cfa923e7-7677-5dde-b481-034397401b10":{"name":"Coffee Cup Set in Box","description":"A set of 12 blue-rimmed white porcelain coffee cups with silver holders in their original box, which is red outside and lined with blue fabric.","holder":"Museum of Turkish and Islamic Arts","dates":"13th-14th century/AD 19th century","location":"Istanbul","dimensions":"42cm x 18cm","dynasty":"Ottomans (AH 698–1340 / AD 1299–1922)","materials":["Porcelain, silver, wood, fabric, metal"]},"f88a365b-0b19-5fa2-8be0-31a30d035b7c":{"name":"Breakfast Set","description":"The breakfast set consists of a triangular tray, a sugar bowl, teapot, milk jug, high and low cups with saucers and porcelain teaspoons. The tray has rounded corners and a bevelled, scalloped rim. The teapot is potbellied with a curving handle and a tubular spout. The milk jug has a potbellied body on three short legs imitating twigs, a curved handle and short lip. The cups and the sugar bowl are simple in shape, on a low round base, and without handles. All parts of the set have gilt, lacy decorative edges. The knobs of the lids are in the shape of a rose. Each item of the set depicts a different war scene whose actors are Croatian border troops and the Pandurs of Baron Franjo Trenk, shown at moments of rest and while in action. Some of the scenes on the pieces are after Martin Engelbrecht’s prints. All items show the mark of the Meissen manufactory: crossed swords and a star, or a dot below and the impressed mark: X, P, 60, 64.","short_description":"Adorning each item of the breakfast set are polychrome painted scenes of warfare with the soldiers of the Croatian border troops and the Pandurs of Baron Franjo Trenk.","type":"Porcelain","holder":"Museum of Arts and Crafts","dates":"c. 1776","location":"Zagreb, North-West Croatia","dimensions":"Tray: 30 cm x 30 cm; height of milk jug: 8 cm; height of sugar bowl: 8 cm; height of teapot: 14 cm; height of cups: 7cm and 4.5 cm; diameter of saucers: 13.3 cm; length of spoon: 11 cm","place_of_production":"Meissen","method_for_datation":"By stylistic analysis and from the marks of the Meissen manufactory.","obtention":"Purchased from the collection of the Zagreb art collector, Levin Horvath in 1885, 1888 and 1895.","bibliography":"Staničić, S., \"Ratni prizori s hrvatskim sudionicima na porculanu meissenske proizvodnje\", *Od svagdana do blagdana: barok u Hrvatskoj* , Muzej za umjetnost i obrt, Zagreb, 1993, p. 170. \nStaničić, S., *Porculan. Meissen-Beč. Zbirka keramike Muzeja za umjetnost i obrt, Zagreb*, Zagreb, 2004, p. 60.","workshop":"Meissen Porcelain Manufactory","artist_birthdate":"1719","artist_birthplace":"Unknown","artist_deathdate":"1792","artist_deathplace":"Unknown","author":"Marina Bagarić","copy_editor":"Graham McMaster","translator":"Graham McMaster","translation_copy_editor":"Mandi Gomez","keywords":["Porcelain; figural decoration; warfare; Ottoman; domestic vessels"],"materials":["Porcelain with painted and gilded decoration"]},"f95568b2-4453-57ae-8628-5bcd17d70b23":{"name":"Tray with Oriental landscape","description":"Following the Turkish style, this tray is depicted with an Orientalist landscape that might be related to the Greek War of Independence. The man on the left is dressed in the Greek skirt called *fustanella*, worn to fight against the Ottoman Empire. The different clothes of the man on the right who is turning his back may be identified with those of a Turkish warrior or janissary.","type":"Decorative Arts; Porcelain","holder":"National Museum of Romanticism","dates":"19th century","location":"Madrid","dimensions":"27 x 27 x 2,3 cm","author":"Isabel Ortega Fernández","copy_editor":"Anne Dowell","keywords":["War; Decorative Arts; Greece; Turkey"],"materials":["Moulded; enamelled, painted and gilded earthenware"]},"f982124c-5947-5618-a36f-528cc79bcd18":{"name":"Sugar Bowl","description":"Made of white porcelain. There are two handles on the side starting from the rim and going down to the bottom. The surface is decorated with floral and leaf motifs painted in yellow gilt. The handles are also painted in yellow gilt. The cover is decorated with embossed flowers, roses and leaves painted in yellow, blue, green, pink and red.","holder":"Ankara Ethnography Museum","owner":"The Republic of Türkiye Ministry of Culture and Tourism","location":"Ankara","dimensions":"Height: 7.4cm, diameter: 14cm","dynasty":"Ottomans (AH 698–1340 / AD 1299-1922)","copy_editor":"Alvaro Miranda","materials":["Porcelain and silver"]},"fd62bb2a-82f4-581c-9414-fac77a74a469":{"name":"Coffee pot","short_description":"This coffee pot is part of a set ordered by the King Fernando of Saxe Coburg, husband of queen Maria II. The lid bears the king’s monogram “F”, positioned underneath the crown. This set was painted by Gustave Fortier, master of panting in the Factory between 1852 and 1857 and again between 1861 and 1869. He introduces a lyrical and romantic style, manifest in the painting of flowers, in the introduction of delicate patterns and pale shades, tendencies which will define the factory’s decoration during his stay.","type":"Utilitarian ware; ceramic; porcelain","holder":"Vista Alegre Museum","dates":"1852–54","location":"Vista Alegre, Ílhavo","dimensions":"A 24,7 x 16 x 25","keywords":["Arts and Crafts; Daily utilitarian ware; Portugal; Vista Alegre; Factory"],"materials":["Porcelain"],"artist":"Painter: Gustave Fortier"}}
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- {"677db211-c58d-50b1-b232-635d73f3327c":{"name":"*Refrescadores para copos*","description":"Refrescador com corpo muito bojudo, gargalo curto com anel, terminando em crenelado profundo, formando uma coroa, e duas asas, quebradas, sobre pé evertido e abaulado, com cintura ao nível da base. A decoração, pintada na paleta dita *imari* chinês - azul cobalto sob o vidrado e esmaltes vermelho-ferro e ouro sobre o vidrado – e em esmalte verde, mostra, sobre as duas faces principais do bojo, o brasão de armas dos Sampaio e Melo. Tal como as peças encomendadas pelos Portugueses nos séculos XVI e XVII, o oleiro chinês interpretou, a seu modo, o brasão, transformando o elemento heráldico paquife num complexo desenho de arabesco vegetalista estritamente decorativo. Completam a decoração ramos de flores e duas cercaduras: uma com enrolamento na paleta “*imari* chinês” e outra com enrolamento de flores de ameixieira reservadas a branco e realçadas a ouro sobre fundo vermelho-ferro, no pé e no gargalo. \nA forma deste refrescador é inspirada num modelo de prata ocidental, que, pela presença do bordo com crenelado, remete para uma peça originalmente inglesa, conhecida por *Monteith*, que possuía uma guarnição superior amovível, o que lhe proporcionava duplo uso, podendo receber garrafas e copos, na guarnição. Estes recipientes eram designados a partir do nome de um nobre escocês excêntrico, “Senhor Monteith”, que usava a orla inferior da sua capa recortada. Há autores que apresentam também como provável fonte de inspiração um protótipo de faiança da manufactura de Delft, Holanda. \nDemonstrando a complexidade da identificação dos brasões em porcelana chinesa, as armas destas peças têm sido atribuídas a pessoas e a famílias diferentes: Manuel Corte Real de Sampaio, do 5º Conselho Governativo da Índia (1668-1671), Francisco José de Sampaio Melo e Castro, 66º Governador e 40º Vice-Rei da Índia de 1720 a 1723, e à nobre família portuguesa Melo Sampaio, estabelecida na chamada província do Norte da Índia Portuguesa, primeiro em Tana e Baçaim e, finalmente, em Goa.","short_description":"Estes refrescadores integram um magnífico conjunto, único no mundo pelas tipologias e pelas formas – caixas de faqueiro, polvilhadores e garrafas, entre outras – jamais copiadas em outros serviços conhecidos de porcelana chinesa de encomenda, para o mercado, quer português quer estrangeiro.","type":"Porcelana.","holder":"Museu Nacional de Arte Antiga","owner":"Museu Nacional de Arte Antiga.","initial_owner":"Desconhecido.","dates":"Cerca de 1700-1720","location":"Lisboa, Lisboa","dimensions":"Altura: 40 cm; diâmetro: 48 cm.","place_of_production":"China, fornos de Jingdezhen, província de Jiangxi.","method_for_datation":"Retomando o hábito medieval, cerca de 1683, reapareceram em Inglaterra grandes taças guarnecidas no bordo com uma peça recortada, amovível, com dupla função: refrescar garrafas e, com a guarnição, sustentar copos, os quais eram retidos pelas chanfraduras. \nEstes protótipos metálicos foram, posteriormente, enviados para a China pelos portugueses, pelas Companhias das Índias Orientais dos diferentes países europeus e por mercadores privados e americanos, para serem copiados em porcelana e decorados ao gosto dos clientes.","provenance":"Convento de Santos-o-Novo, Lisboa.","obtention":"Foram transferidos em 1911 do Convento de Santos-o-Novo para o Museu Nacional de Arte Antiga.","bibliography":"Gruber, A., *L'Argenterie de Maison du XVIe au XIXe siècle*, Fribourg, 1982. \nTeixeira, J. M., e outros, *Triomphe du Barroque*, Bruxelles, 1991. \nMatos, M. A. P. de, “Porcelanas de Encomenda. Histórias de um Intercâmbio Cultural entre Portugal e a China”, in *Oceanos*, nº 14, CNCDP, Junho 1993. \nAlves, J. S., Matos, M. A. P. de, Antunes, M. L., e Loureiro, R. M., *Caminhos da Porcelana. Dinastias Ming e Qing,* Lisboa, Fundação Oriente, 1998. \nAntunes**,** M. S. L., *Porcelanas*, Lisboa, Fundação Ricardo Espírito Santo Silva, 1999.","dynasty":"Dinastia Qing (1644-1911)","copyright":"Direitos de autor fotografias: Divisão de Documentação Fotográfica/ Instituto dos Museus e da Conservação, I.P.","author":"Maria Antónia Pinto de Matos","keywords":["brasão de armas","imari chinês","monteith.","Porcelana chinesa","refrescador"],"materials":["Porcelana decorada a azul-cobalto sob o vidrado e esmaltes vermelho-ferro e ouro sobre o vidrado, dita paleta “imari chinês.”"]}}
1
+ {"677db211-c58d-50b1-b232-635d73f3327c":{"name":"*Refrescadores para copos*","description":"Refrescador com corpo muito bojudo, gargalo curto com anel, terminando em crenelado profundo, formando uma coroa, e duas asas, quebradas, sobre pé evertido e abaulado, com cintura ao nível da base. A decoração, pintada na paleta dita *imari* chinês - azul cobalto sob o vidrado e esmaltes vermelho-ferro e ouro sobre o vidrado – e em esmalte verde, mostra, sobre as duas faces principais do bojo, o brasão de armas dos Sampaio e Melo. Tal como as peças encomendadas pelos Portugueses nos séculos XVI e XVII, o oleiro chinês interpretou, a seu modo, o brasão, transformando o elemento heráldico paquife num complexo desenho de arabesco vegetalista estritamente decorativo. Completam a decoração ramos de flores e duas cercaduras: uma com enrolamento na paleta “*imari* chinês” e outra com enrolamento de flores de ameixieira reservadas a branco e realçadas a ouro sobre fundo vermelho-ferro, no pé e no gargalo. \nA forma deste refrescador é inspirada num modelo de prata ocidental, que, pela presença do bordo com crenelado, remete para uma peça originalmente inglesa, conhecida por *Monteith*, que possuía uma guarnição superior amovível, o que lhe proporcionava duplo uso, podendo receber garrafas e copos, na guarnição. Estes recipientes eram designados a partir do nome de um nobre escocês excêntrico, “Senhor Monteith”, que usava a orla inferior da sua capa recortada. Há autores que apresentam também como provável fonte de inspiração um protótipo de faiança da manufactura de Delft, Holanda. \nDemonstrando a complexidade da identificação dos brasões em porcelana chinesa, as armas destas peças têm sido atribuídas a pessoas e a famílias diferentes: Manuel Corte Real de Sampaio, do 5º Conselho Governativo da Índia (1668-1671), Francisco José de Sampaio Melo e Castro, 66º Governador e 40º Vice-Rei da Índia de 1720 a 1723, e à nobre família portuguesa Melo Sampaio, estabelecida na chamada província do Norte da Índia Portuguesa, primeiro em Tana e Baçaim e, finalmente, em Goa.","short_description":"Estes refrescadores integram um magnífico conjunto, único no mundo pelas tipologias e pelas formas – caixas de faqueiro, polvilhadores e garrafas, entre outras – jamais copiadas em outros serviços conhecidos de porcelana chinesa de encomenda, para o mercado, quer português quer estrangeiro.","type":"Porcelana.","holder":"Museu Nacional de Arte Antiga","owner":"Museu Nacional de Arte Antiga.","initial_owner":"Desconhecido.","dates":"Cerca de 1700-1720","location":"Lisboa, Lisboa","dimensions":"Altura: 40 cm; diâmetro: 48 cm.","place_of_production":"China, fornos de Jingdezhen, província de Jiangxi.","method_for_datation":"Retomando o hábito medieval, cerca de 1683, reapareceram em Inglaterra grandes taças guarnecidas no bordo com uma peça recortada, amovível, com dupla função: refrescar garrafas e, com a guarnição, sustentar copos, os quais eram retidos pelas chanfraduras. \nEstes protótipos metálicos foram, posteriormente, enviados para a China pelos portugueses, pelas Companhias das Índias Orientais dos diferentes países europeus e por mercadores privados e americanos, para serem copiados em porcelana e decorados ao gosto dos clientes.","provenance":"Convento de Santos-o-Novo, Lisboa.","obtention":"Foram transferidos em 1911 do Convento de Santos-o-Novo para o Museu Nacional de Arte Antiga.","bibliography":"Gruber, A., *L'Argenterie de Maison du XVIe au XIXe siècle*, Fribourg, 1982. \nTeixeira, J. M., e outros, *Triomphe du Barroque*, Bruxelles, 1991. \nMatos, M. A. P. de, “Porcelanas de Encomenda. Histórias de um Intercâmbio Cultural entre Portugal e a China”, in *Oceanos*, nº 14, CNCDP, Junho 1993. \nAlves, J. S., Matos, M. A. P. de, Antunes, M. L., e Loureiro, R. M., *Caminhos da Porcelana. Dinastias Ming e Qing,* Lisboa, Fundação Oriente, 1998. \nAntunes**,** M. S. L., *Porcelanas*, Lisboa, Fundação Ricardo Espírito Santo Silva, 1999.","dynasty":"Dinastia Qing (1644-1911)","copyright":"Direitos de autor fotografias: Divisão de Documentação Fotográfica/ Instituto dos Museus e da Conservação, I.P.","author":"Maria Antónia Pinto de Matos","keywords":["Porcelana chinesa; *imari* chinês; brasão de armas; refrescador; *monteith*."],"materials":["Porcelana decorada a azul-cobalto sob o vidrado e esmaltes vermelho-ferro e ouro sobre o vidrado, dita paleta “*imari* chinês.”"]}}