British Museum blog

Made in China: an imperial Ming vase

detail of Ming vase
Yu-Ping Luk, Exhibition Project Curator, British Museum

Early last year, when the idea of a Spotlight tour to complement the BP exhibition Ming: 50 years that changed China was raised, we had to consider which single object from the British Museum collection could possibly represent early Ming dynasty (1368–1644) China. The answer seemed obvious – it had to be a spectacular blue-and-white porcelain vase.

Press launch in Room 33 of the Spotlight tour and Ming exhibition

Press launch in Room 33 of the Spotlight tour and Ming exhibition

Without knowing much about the Ming dynasty, most people will probably have heard of the ‘Ming vase’. The phrase ‘as precious as a Ming vase’ is often used to describe an antique object of great value. The plot device of a priceless Ming vase being smashed to pieces or stolen has been used in films and on television for comic or dramatic effect. The spotlight tour, together with the exhibition at the British Museum, are opportunities for audiences to rediscover this seemingly familiar object and to find out more about the Ming dynasty when it was made.

Large porcelain flask painted with underglaze blue decoration. Made in Jingdezhen, China. Ming dynasty, Xuande mark and period, 1426–1435

Large porcelain flask painted with underglaze blue decoration. Made in Jingdezhen, China. Ming dynasty, Xuande mark and period, 1426–1435. Gift of Sir John Addis.

The vase that has been chosen for the Spotlight tour is a stunning porcelain flask that was donated to the British Museum in 1975 by Sir John Addis, a former British Museum Trustee and British Ambassador to China. Painted with lotus scroll decoration in cobalt blue, it is inscribed with the reign mark of the Xuande emperor (reigned 1426–35), well known for his love of the arts. Together with his grandfather the charismatic Yongle emperor (reigned 1403–24), the Xuande emperor established a golden age in China during which the imperial and regional courts were centres of culture, military power and contacts with the wider world. The vase is typical of the skill and quality of imperial production in China during the early 1400s.

Apart from its beauty and size, this vase was also chosen as it highlights one of the major themes of the exhibition, the interaction between China and the wider world. While considerable attention has been paid to the contacts between China and Europe from the 1500s onwards, China was already engaged in a network of trade and diplomacy by land and by sea that extended between Japan to the west coast of Africa a century earlier. The imperial court took an interest in and appropriated elements from other cultures, such as by commissioning porcelain with shapes modelled on earlier Middle Eastern objects in metal or glass. This porcelain flask is an example of this distinctive trend.

By displaying this stunning piece from the British Museum’s collection, we hope to inspire people to find out more about Ming dynasty China. It is also an opportunity to rediscover objects related to China in partner museums that may be shown alongside the vase. Each venue will also bring a different perspective to this Ming porcelain vase by commissioning a new artwork in response to it. At the first stop, the Burrell Collection in Glasgow, Scottish composer Eddie McGuire has composed a new piece of music set to poetry by Tom Furniss. All of us on the project are looking forward to the première of this work on 11 April and we are excited to see what will come next.

Read more about the Spotlight tour: Made in China: an imperial Ming vase
Supported by BP

The Spotlight tour will be at:
The Burrell Collection, Glasgow Museums, 12 April – 6 July 2014
Weston Park Museum, Museums Sheffield, 12 July – 5 October 2014
Bristol Museum and Art Gallery, 11 October 2014 – 4 January 2015
The Willis Museum, Hampshire County Council Arts and Museums Service, 10 January – 4 April 2015.


The BP exhibition: Ming: 50 years that changed China is at the British Museum from 18 September 2014 to 5 January 2015.
Supported by BP
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The next gallery in our #MuseumOfTheFuture series is Room 67: Korea. The Korea Foundation Gallery is currently closed for refurbishment and will reopen on 16 December 2014. You can find out more about the refurb at koreabritishmuseum.tumblr.com  The unique culture of Korea combines a strong sense of national identity with influences from other parts of the Far East. Korean religion, language, geography and everyday life were directly affected by the country’s geographic position, resulting in a rich mix of art and artefacts.
Objects on display in Room 67 date from prehistory to the present day and include ceramics, metalwork, sculpture, painting, screen-printed books and illuminated manuscripts.
A reconstruction of a traditional sarangbang, or scholar’s study, is also on display and was built by contemporary Korean craftsmen. This is Room 66, Ethiopia and Coptic Egypt. It's the next gallery space in our #MuseumOfTheFuture series.
By the 4th century AD, Christianity was flourishing in both Egypt and Ethiopia. Christian Egyptians became known as the Copts (from the Greek name for Egyptians) and the church maintained strong links with its Ethiopian counterparts. Since antiquity, Ethiopia had been a major trade route, linking Egypt and the Mediterranean with India and the Far East.
The resulting history of cultural exchange and religious diversity is illustrated through objects in Room 66, which reflect the faiths and identities which coexisted in Egypt and Ethiopia. Objects from towns, monasteries and settlements range from decorated textiles and architectural elements to sculpture and ceramics. It's time for our next #MuseumOfTheFuture gallery. This is Room 65, the Raymond and Beverly Sackler Gallery of Sudan, Egypt and Nubia. Ancient Nubia, the Nile Valley upstream of the First Cataract, now straddles the border between Egypt and Sudan. Rich and vibrant cultures developed in this region at the same time as Pharaonic Egypt. Among them was the earliest sub-Saharan urban culture in Africa, which was based at Kerma.
These cultures traded extensively with Egypt and for two brief periods Nubian kingdoms dominated their northern neighbour.
The objects on display in Room 65 illustrate these indigenous pagan, Christian and Islamic cultures and the interaction between Nubia and Egypt. This is our next gallery space in the #MuseumOfTheFuture series. It's Room 64, the Raymond and Beverly Sackler Gallery of Early Egypt. Rapid advances in the technology and social organisation of Egypt during the 5th millennium BC produced a material culture of increasing sophistication. Further innovations followed in about 3100 BC when the separate Predynastic peoples of Upper and Lower Egypt were united under a single ruler. The resulting increase in wealth and strong central control led to dramatic achievements in architecture, writing and fine goods, culminating in the building of the Great Pyramids of Giza in around 2600 BC.
Objects on display in Room 64 illustrate the cultural, technological and political development of early civilisation in Egypt throughout this period. In this picture you can see Gebelein Man, a mummy who was naturally preserved in the desert sands, and who used to have the unofficial nickname of Ginger (although the Museum doesn't use this name). In the background you can see an interactive virtual autopsy of the mummy which was installed in the newly refurbished gallery last year. It's Toulouse-Lautrec's 150th birthday! Here's his poster for a Parisian cabaret 
#history #art #artist #Paris Although this gilded cartonnage mask of a mummy conveys vitality and alertness, the features are more bland and idealised than those of other masks. The eyes, ears, nose, mouth and chin are highly stylised and not fully integrated into the face. The collar, the wig and the necklace with an ankh (‘life’) pendant, are attributes showing that the deceased has entered the afterlife and been assimilated with the gods. A winged scarab beetle on the top and images of gods on the back also emphasise the funerary character of the mask.

The use of gold was connected to the belief that the sun god Re, with whom the mummy hoped to be united, had flesh of pure gold. The back of the wig is decorated in many colours, with a row of deities, a ba and falcon with outstretched wings and seven short columns of near-unintelligible hieroglyphs.

See this cartonnage mask in our exhibition #8mummies – now extended until 19 April 2015.
#MummyMonday #mummies
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