Bringing Heaven to Earth: Chinese Silver Jewellery and Ornament in the Late Qing Dynasty

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Description

Ianthe Press Limited in collaboration with Paul Holberton Publishing present…

Shining a light on a little-known area of Chinese decorative arts from 1850 to 1930, this lavishly illustrated book presents dazzling jewelry from a very powerful private North American collection.

Immortals, dragons, magpies, monkeys and bats populate this pioneering book on Chinese jewelry of the late 19th to early 20th century. In such a lot of aspects, these exquisite objects – made with silver, jade, tourmaline, amethyst, rock crystal, rose quartz, carnelian and serpentine – reveal a prior to now unexplored journey, not just from Heaven to Earth but from the West to the East and back again.

The appeal of the jewelry is more than just aesthetic, and their varied design and decoration speak of the social, religious, economic and political climate of their time. Their period of production, from the Late Qing dynasty through to the 1930s, is one that has been insufficiently explored by historians as a whole. This was once the time when the Treaty Ports attracted foreign residence and tourism, when Western visitors flocked to Shanghai and Peking to shop for ‘Chinese’ souvenirs, and when fashionable young Chinese of the Republican period embraced aspects of foreign life and design. Among the pieces naturally reflect Chinese designs and motifs, particularly in the bold association of colors, their use of ‘re-purposed’ carved plaques and the emphasis on luck-bearing emblems. Western influence creeps in, alternatively, in the form of safe box-and-tongue clasps and the occasional maker’s or retailer’s names, in addition to stamps such as ‘Chinese sterling’. Do these makers’ marks suggest that the items were produced for export or do they simply represent a nod to modernity?

In the many fine photographs and her detailed descriptions of each piece, Elizabeth Herridge offers a full survey of the wide range of the complex motifs involved and their significance. She presents a groundbreaking contribution to our understanding of early 20th-century China, its handicraft production, its commercial activities, and the last gasp of items such as mandarin court necklaces in the face of modern fashions.

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