The Weese
Collection
Chinese Ceramics at UMMA
Vase, China, Qing dynasty (18th century), soft past porcelain with blue underglaze and painting, Promised gift of William C. Weese, PG2020.2.10
In 2020, UMMA’s collection of Chinese ceramics greatly expanded following a gift of art from long-time University supporter William C. Weese. Ranging from 3000 BCE to the mid 19th century, the Weese collection contains more than 1,000 Chinese ceramics and spans centuries, styles, trends, and technologies. Here you can learn more about the vast collection, and explore some of the works.
Meet the Donor
William C. Weese MD (BS ‘65) is a long-time University supporter and has built a strong legacy of developing programs in the arts and humanities.
“I have been studying and collecting Chinese art and ceramics since the early 1980s — the craftsmanship and history of the works has fascinated me my entire life. My goal in gifting this collection to the University of Michigan is both to preserve it for generations to come, but also to help foster that same love and passion for the exploration of technique and history that I’ve developed over the years. I hope students embrace this love. I hope the community comes out to see it as well,” Dr. Weese said.
Read the press release about the gift
Image courtesy of Bill Weese
Collection Highlights
The William C. Weese Collection of Chinese Ceramics is rich in porcelain and stonewares from the Ming and Qing dynasties, especially those made during the reigns of Emperors Kangxi (1662–1722), Yongzheng (1723–1735) and Qianlong (1736–1795). For the superb artisanship and mesmerizing array of colors, shapes, and decorative techniques, the ceramics made in the period are admired as some of the highest achievements of world ceramic history.
These ceramics were used for serving food and drinks, religious worship, and decorations in homes of the wealthy, and in some cases, Imperial Court. They were also admired outside of China. From the 14th century until the 19th century, ceramics were China’s major trade goods for other parts of Asia, Middle East, Europe, and North and South Americas.
Select a use below to explore select highlights in the Weese Collection:
Get Up Close
Take a closer look at two objects in the Weese Collection, a yellow Meiping vase dating from the reign of Kangxi Emperor (1654-1722), and a pair of ceramic rafts dating back to the 19th century. Click the arrows to advance and get an up-close-and-personal tour around the object:
Meiping Vase, China, Qing dynasty, Kangxi reign (1662 - 1722), porcelain with glaze, Promised gift of William C. Weese, M.D., LSA '65, PG2020.2.1
Eight Immortals on a Boat (One of a Pair), China, Qing dynasty (19th century), porcelain with glaze, Promised gift of William C. Weese, M.D., LSA '65, PG2020.2.25A&B
Serving Food and Drink
Decorated by vibrant color glazes and varied in design, these plates, bowls, saucers, and teapots were used at homes and religious rituals in China. Fine tea and dining ware from China were also in high demand across Europe and were praised as objects of luxury.
PG2020.2.103
Title
Ewer
Artist(s)
Object Creation Date
Qing dynasty (18th century)
Medium & Support
porcelain with glaze
Dimensions
6 7/16 in. (16.35 cm)
Credit Line
Promised gift of William C. Weese, M.D., LSA ‘65
Physical Description
Porcelain coral-color glaze ewer that has a wide, thick base, a teardrop shaped body with a long curvy spout and handle, and a point at the top. It has a studio mark on the base.
Primary Object Classification
Ceramic
Collection Area
Asian
Rights
If you are interested in using an image for a publication, please visit http://umma.umich.edu/request-image for more information and to fill out the online Image Rights and Reproductions Request Form.
Ewer
porcelain with glaze
6 7/16 in. (16.35 cm)
Promised gift of William C. Weese, M.D., LSA ‘65
PG2020.2.17
Title
Saucer
Artist(s)
Object Creation Date
Ming dynasty (15th century)
Medium & Support
stoneware with glaze and metal
Dimensions
1 5/16 in. (3.33 cm)
Credit Line
Promised gift of William C. Weese, M.D., LSA ‘65
Subject matter
Jun ware was prized for its light purplish-blue glaze with purple or red splashes caused by transmutation during firing. The vivid colors of the splashes are caused by oxidized copper impurities in the glaze.
Physical Description
A purple and light blue spotted saucer with a gold metal rim.
Primary Object Classification
Ceramic
Collection Area
Asian
Rights
If you are interested in using an image for a publication, please visit http://umma.umich.edu/request-image for more information and to fill out the online Image Rights and Reproductions Request Form.
Saucer
stoneware with glaze and metal
1 5/16 in. (3.33 cm)
Promised gift of William C. Weese, M.D., LSA ‘65
PG2020.2.27
Title
Tea Pot
Artist(s)
Chinese
Artist Nationality
Chinese (culture or style)
Object Creation Date
Qing dynasty (18th century)
Medium & Support
soft paste porcelain with glaze
Dimensions
6 1/2 in. (16.51 cm)
Credit Line
Promised gift of William C. Weese, M.D., LSA ‘65
Subject matter
Tea is an important part of Chinese tradition. As Chinese society developed and progressed, tea production has played a role in driving economic development while tea consumption has remained a practice of daily life.
The history of Chinese tea is a long and gradual story of refinement. Generations of growers and producers have perfected the Chinese way of manufacturing tea, and its many unique regional variations.
The original idea is credited to the legendary Emperor Shennong, who is said to have lived 5 000 years ago. His far-sighted edicts required, among other things, that all drinking water be boiled as a hygienic precaution. A story goes that, one summer day, while visiting a distant part of his realm, he and the court stopped to rest. In accordance with his ruling, the servants began to boil water for the court to drink. Dried leaves from a nearby bush fell into the boiling water, and a brown substance was infused into the water. As a scientist, the Emperor was interested in the new liquid, drank some, and found it very refreshing. And so, according to legend, tea was created in 2737 BC.
https://www.chinahighlights.com/travelguide/chinese-tea/
Physical Description
Three legged, soft paste porcelain tea pot with spout, rou-y scepter on lid and six soft paste porcelain tea cups, six sided with interior and exterior incising.
Primary Object Classification
Ceramic
Collection Area
Asian
Rights
If you are interested in using an image for a publication, please visit http://umma.umich.edu/request-image for more information and to fill out the online Image Rights and Reproductions Request Form.
Tea Pot
soft paste porcelain with glaze
6 1/2 in. (16.51 cm)
Promised gift of William C. Weese, M.D., LSA ‘65
PG2020.2.54
Title
Libation Cup
Artist(s)
Object Creation Date
Qing dynasty, Kangxi reign (1662 - 1722)
Medium & Support
porcelain with glaze
Dimensions
2 3/8 in. (6.03 cm)
Credit Line
Promised gift of William C. Weese, M.D., LSA ‘65
Subject matter
Qilin, Wade-Giles ch't-lin, in Chinese mythology, the unicorn whose rare appearance often coincides with the imminent birth or death of a sage or illustrious ruler. (The name is a combination of the two characters qi “male,” and lin, “female.”) A qilin has a single horn on its forehead, a yellow belly, a multicoloured back, the body of a deer, and the tail of an ox. Gentle of disposition, it never walks on verdant grass or eats living vegetation.
The first qilin is said to have appeared in the garden of the legendary Huangdi (Yellow Emperor) in 2697 BCE. Some three centuries later a pair of qilin were reported in the capital of Emperor Yao. Both events bore testimony to the benevolent nature of the rulers.
https://www.britannica.com/topic/qilin
Physical Description
A rounded triangular shaped libation cup with blue underglaze and green and orange overglaze designs on the side and a Qilin on edge.
Primary Object Classification
Ceramic
Collection Area
Asian
Rights
If you are interested in using an image for a publication, please visit http://umma.umich.edu/request-image for more information and to fill out the online Image Rights and Reproductions Request Form.
Libation Cup
porcelain with glaze
2 3/8 in. (6.03 cm)
Promised gift of William C. Weese, M.D., LSA ‘65
PG2020.2.109
Title
Stem Cup
Artist(s)
Object Creation Date
Qing dynasty (18th century)
Medium & Support
porcelain with glaze
Dimensions
4 in. (10.16 cm)
Credit Line
Promised gift of William C. Weese, M.D., LSA ‘65
Subject matter
A porcelain sang de boeuf Lang yao copper red glazed vase of the Kangxi period (1662-1722). Copper red glazes are among the most difficult to be mastered as the oxygen in the kiln during firing must be reduced, or the glaze turns greenish-grey instead of a brilliant red. Lang yao red was considered a great triumph by its creator, official kiln supervisor Lang Tingji. Because of its glossy ox-blood color, it became known as sang de boeuf in the West. Kangxi, the second emperor of the Manchurian Qing dynasty, took the throne at the age of eight and ruled for a total of sixty-one years, the longest of any Chinese emperor. Being a foreign ruler in China, he assimilated by learning Chinese, becoming Buddhist, and studied the Classics to gain public support. He accomplished many great feats such as completing the unification of China, improving government administration, and decreasing corruption. Of most importance to the production of porcelain, he reinstated the official kilns at Jingdezhen and opened the overseas trade. During Kangxi’s reign (1662-1722) there were many advancements to porcelain manufacture and the introduction of many new types and forms. Kangxi achieved this by appointing two different kiln supervisors during his tenure, Zang Yingxuan and Lang Tingji who are the names behind Zang yao (ware) and Lang yao (ware), respectively. Other types discovered and produced during this time include, but are not limited to, various refined monochromatic and copper red glazes including Lang yao—or sang de boeuf—and peach-bloom, underglaze blue in five colors, famille verte, bisquit, fencai—powder colors—and falangcai—enameled colors. Porcelains produced under the Kangxi reign appealed both to the elites of Chinese society as well as those overseas.
Physical Description
This oxblood stem cup has a stout base with a bowl shaped body. There is an interior carving on the bowl and a reign mark on base.
Primary Object Classification
Ceramic
Collection Area
Asian
Rights
If you are interested in using an image for a publication, please visit http://umma.umich.edu/request-image for more information and to fill out the online Image Rights and Reproductions Request Form.
Stem Cup
porcelain with glaze
4 in. (10.16 cm)
Promised gift of William C. Weese, M.D., LSA ‘65
2020/2.71A-C
Title
Soup Tureen with Platter and Lid
Artist(s)
Object Creation Date
19th century
Medium & Support
porcelain
Dimensions
9 1/4 x 12 x 9 in. (23.5 x 30.48 x 22.86 cm)
Credit Line
Gift of William C. Weese, M.D., LSA '65
Subject matter
This soup tureen is decocrated with two pairs of dragons entertaining with firing jewels among auspicious clouds. A matching lid also depicts four dragons. The theme of dragons playing with a jewel appear ubiquitously on textiles, porcelains, lacquer wares as well as other forms of decorative arts. It conveys the wish for happiness and good fortune.
Physical Description
Porcelain blue and white covered soup tureen with platter depicting dragons and clouds.
Primary Object Classification
Ceramic
Collection Area
Asian
Rights
If you are interested in using an image for a publication, please visit http://umma.umich.edu/request-image for more information and to fill out the online Image Rights and Reproductions Request Form.
Soup Tureen with Platter and Lid
porcelain
9 1/4 x 12 x 9 in. (23.5 x 30.48 x 22.86 cm)
Gift of William C. Weese, M.D., LSA '65
Religious Practice
Ceramic deities and animals were used during burial practices, worshipped as part of family altars and temples, or placed on scholars’ desks. These functional and decorative items gained popularity in both China and elsewhere. Of particularly high regard were the milky white Guanyin (Bodhisattva) porcelain figures made in Dehua, which were also known as Blanc de Chine (White from China).
PG2020.2.97A-B
Title
Incense Burner
Artist(s)
Object Creation Date
Ming dynasty (16th century)
Medium & Support
stoneware with glaze
Dimensions
6 5/8 in. (16.83 cm)
Credit Line
Promised gift of William C. Weese, M.D., LSA ‘65
Subject matter
Qilin, Wade-Giles ch't-lin, in Chinese mythology, the unicorn whose rare appearance often coincides with the imminent birth or death of a sage or illustrious ruler. (The name is a combination of the two characters qi “male,” and lin, “female.”) A qilin has a single horn on its forehead, a yellow belly, a multicoloured back, the body of a deer, and the tail of an ox. Gentle of disposition, it never walks on verdant grass or eats living vegetation.
The first qilin is said to have appeared in the garden of the legendary Huangdi (Yellow Emperor) in 2697 BCE. Some three centuries later a pair of qilin were reported in the capital of Emperor Yao. Both events bore testimony to the benevolent nature of the rulers.
https://www.britannica.com/topic/qilin
Physical Description
Celadon incense burner in the shape of Qilin with a removable top.
Primary Object Classification
Ceramic
Collection Area
Asian
Rights
If you are interested in using an image for a publication, please visit http://umma.umich.edu/request-image for more information and to fill out the online Image Rights and Reproductions Request Form.
Incense Burner
stoneware with glaze
6 5/8 in. (16.83 cm)
Promised gift of William C. Weese, M.D., LSA ‘65
PG2020.2.44.1
Title
Zodiac Figure
Artist(s)
Ming Sancai Ware
Object Creation Date
1368-1644
Medium & Support
earthenware with glaze
Dimensions
8 in. (20.32 cm)
Credit Line
Promised gift of William C. Weese, M.D., LSA ‘65
Subject matter
The Chinese zodiac, or shengxiao (/shnng-sshyao/ ‘born resembling'), is a repeating cycle of 12 years, with each year being represented by an animal and its reputed attributes. In order, the 12 Chinese horoscope animals are: Rat, Ox, Tiger, Rabbit, Dragon, Snake, Horse, Goat, Monkey, Rooster, Dog, Pig.
The 12 signs are popularly explained by a myth that when the Jade Emperor (the supreme immortal) was developing a calendar, all creatures on Earth were summoned to participate in a race. The first 12 to cross the line were awarded signs and an order in the Chinese zodiac.
Actually, the 12 animals were chosen very deliberately by the ancients, after many revisions. The zodiac animals are either closely related to ancient Chinese people's daily lives, or have lucky meanings.
https://www.chinahighlights.com/travelguide/chinese-zodiac/#zodiac
Primary Object Classification
Ceramic
Collection Area
Asian
Rights
If you are interested in using an image for a publication, please visit http://umma.umich.edu/request-image for more information and to fill out the online Image Rights and Reproductions Request Form.
Zodiac Figure
earthenware with glaze
8 in. (20.32 cm)
Promised gift of William C. Weese, M.D., LSA ‘65
PG2020.2.29
Title
Guanyin
Artist(s)
Object Creation Date
Qing dynasty (18th century)
Medium & Support
blanc de chine porcelain with glaze
Dimensions
11 1/2 in. (29.21 cm)
Credit Line
Promised gift of William C. Weese, M.D., LSA ‘65
Subject matter
"In Chinese Buddhism, Guan Yin is synonymous with the Bodhisattva Avalokitesvara, the pinnacle of mercy, compassion, kindness and love.
Along with Buddhism, Guan Yin's veneration was introduced into China as early as the 1st century AD, and reached Japan by way of Korea soon after Buddhism was first introduced into the country from the mid-7th century.
Representations of the Bodhisattva in China prior to the Song Dynasty (960-1279 AD, Northern - and Southern Song Dynasty) were masculine in appearance.
It is generally accepted that Guan Yin originated as the Sanskrit Avalokitesvara, which is her male form, since all representations of Bodhisattva were masculine.
Later images might show female and male attributes, since a Bodhisattva, in accordance with the Lotus Sutra, has the magical power to transform the body in any form required to relieve suffering, so that Guan Yin is neither woman nor man. In Mahayana Buddhism, to which Chinese Buddhism belongs, gender is no obstacle to Enlightenment.
As the Lotus Sutra relates, the Bodhisattva Kuan Shih Yin, "by resort to a variety of shapes, travels in the world, conveying the beings to salvation."
The representation in China was further interpreted in an all-female form around the 12th century, during the Ming Dynasty (1368- 1644 AD).
In the modern period, Guan Yin is most often represented as a beautiful, white-robed woman, a depiction which derives from the earlier Pandaravasini form.
Guan Yin is usually shown in a white flowing robe - white being the symbol of purity -, and usually wearing necklaces of Indian/Chinese royalty...A necklace or rosary is associated with her calls upon Buddha for succor, each bead of it representing all living beings and the turning of the beads symbolizes that Guan Yin is leading them out of their state of misery and repeated rounds of rebirth into nirvana, hence the beads represent enlightenment. Should a book or scroll of papers be within the portrayal, it is representing the Dharma, the teaching of Buddha or the sutra, the Buddhist text, Guan Yin is said to have constantly recited from."
https://www.nationsonline.org/oneworld/Chinese_Customs/Guan_Yin.htm
Physical Description
Guanyin is seated in a posture of royal ease on a decorative chair with a small table holding a small jar and three scrolls. Her left arm is resting upon her left knee while her right arm is crossed in front of her holding another scroll. She is wearing a robe, a necklace, and her eyes are closed,
Primary Object Classification
Ceramic
Collection Area
Asian
Rights
If you are interested in using an image for a publication, please visit http://umma.umich.edu/request-image for more information and to fill out the online Image Rights and Reproductions Request Form.
Guanyin
blanc de chine porcelain with glaze
11 1/2 in. (29.21 cm)
Promised gift of William C. Weese, M.D., LSA ‘65
Literary Pursuits
Scholars' objects embody aesthetic tastes and intellectual curiosity of literati or China’s cultural elites. A scholar's private studio would be filled with brush holders and washers, inkstones, table screens, and other objects with admirable artistic, meditative, and decorative value.
PG2020.2.5
Title
Washer
Artist(s)
Chinese
Artist Nationality
Chinese (culture or style)
Object Creation Date
19th century
Medium & Support
porcelain with glaze
Dimensions
3 x 9 3/4 in. (7.62 x 24.77 cm)
Credit Line
Promised gift of William C. Weese, M.D., LSA ‘65
Subject matter
For centuries, the principal colors of Chinese monochrome ceramic wares were shades of green, amber, and brown that resulted from firing iron-oxide glazes in kilns under controlled conditions and temperatures. During the Qing dynasty, however, three successive emperors—Kangxi, Yongzheng, and Qianlong—each took a personal interest in ceramics production at the imperial kilns in Jingdezhen, Jiangxi province. Under their direction, new superintendents revived the kilns, streamlining production, introducing new vessel shapes, and successfully expanding the repertoire of monochrome glazes to include jewel-toned colors now bearing fanciful Western names like chicken fat yellow, peach-bloom and sang de boeuf (oxblood) red, and robin’s egg and clair de lune (moonlight) blue, as seen in this case.
Physical Description
A clair de lune washer with a large base, a short bulging middle, and a rim that curves inward. It has a Qianlong reign mark on the bottom.
Primary Object Classification
Ceramic
Collection Area
Asian
Rights
If you are interested in using an image for a publication, please visit http://umma.umich.edu/request-image for more information and to fill out the online Image Rights and Reproductions Request Form.
Washer
porcelain with glaze
3 x 9 3/4 in. (7.62 x 24.77 cm)
Promised gift of William C. Weese, M.D., LSA ‘65
PG2020.2.60A&B
Title
Brush Holder
Artist(s)
Object Creation Date
Qing dynasty, Kangxi reign (1662 - 1722)
Medium & Support
porcelain with glaze
Dimensions
5 5/8 in. (14.29 cm)
Credit Line
Promised gift of William C. Weese, M.D., LSA ‘65
Subject matter
It is one of the objects from ‘the scholar’s table’. If you were a Chinese scholar in the middle of the 18th Century – or even the 19th Century – you would have a table, and on it you would have a number of key things: brushes for calligraphy, a Bitong (a brush pot) to put your brushes in, and an ink stone to grind up ink.
https://www.bbc.co.uk/programmes/articles/2svW9tmQHWL8jCMLPDvKyX9/18th-century-chinese-brush-pot
Physical Description
Blue-green brush holder with reticulated designs of plants on open wooden lid and base.
Primary Object Classification
Ceramic
Collection Area
Asian
Rights
If you are interested in using an image for a publication, please visit http://umma.umich.edu/request-image for more information and to fill out the online Image Rights and Reproductions Request Form.
Brush Holder
porcelain with glaze
5 5/8 in. (14.29 cm)
Promised gift of William C. Weese, M.D., LSA ‘65
PG2020.2.72
Title
Water Coupe
Artist(s)
Object Creation Date
Qing dynasty (18th - 19th century)
Medium & Support
porcelain with glaze
Credit Line
Promised gift of William C. Weese, M.D., LSA ‘65
Subject matter
Brush washers were used for removing excess ink from the brush and are essential tools in the traditional art of Chinese calligraphy and painting. These functional objects were often made into beautiful works of art through exquisite design and the use of precious materials, such as zitan, jade and porcelain.
https://www.christies.com/features/Scholars-objects-collecting-guide-7228-1.aspx
Physical Description
Peachbloom water coupe with scalloped edges and motifs of lotus leaf, frog, and dragon fly.
Primary Object Classification
Ceramic
Collection Area
Asian
Rights
If you are interested in using an image for a publication, please visit http://umma.umich.edu/request-image for more information and to fill out the online Image Rights and Reproductions Request Form.
Water Coupe
porcelain with glaze
Promised gift of William C. Weese, M.D., LSA ‘65
PG2020.2.35
Title
Miniature Penjing Tree
Artist(s)
Object Creation Date
Qing dynasty, Kangxi reign (1662 - 1722)
Medium & Support
porcelain with glaze
Dimensions
7 1/4 in. (18.41 cm)
Credit Line
Promised gift of William C. Weese, M.D., LSA ‘65
Subject matter
Chinese Bonsai is the art of designing a miniature tree in a shallow pot or container. Bonsai (which translates to 'tree in a pot') is also known as 'pun-sai' and 'penjing' (the word 'Pen' means container or pot and the word 'jing' means scenery). Chinese Bonsai, inspired by nature, originated in China around 1300 years ago. Originally Bonsai was practiced only by the elite of ancient China. The miniatures trees were considered a luxury and were given as gifts. Around 1100 AD Buddhist monks brought the Bonsai to Japan and the art was adopted by the Japanese. It was not until the early 1900’s that Bonsai spread to the rest of the world.
Bonsai is often viewed as an object for meditation. The designing of the Bonsai tree is contemplative, a Zen practice. Chinese style meditation encourages liberation of the mind; encouraging it to flow in its own natural way. Creating Bonsai, arranging rocks in the miniature landscape, clipping and the adding of new elements is a process of active meditation. Something new may be discovered, and having flowed naturally out of the mind it is harmonious and lifts the spirit.
The purpose of Bonsai is not just to re-create nature in a pot, but to actually capture the spirit. The Chinese see the universe as having two sides of cosmic energy; this is called the yin and the yang. In a Bonsai tree, this is depicted through drama, rhythm and balance. Overall unity is important, therefore, many considerations have to be made. These include the type of container, the placement of the Bonsai tree, the species of the tree, the size, shape and color of the tree as well as other details such as the rocks which also have to be chosen just so.
https://www.chinahighlights.com/travelguide/culture/chinese-bonsai.htm
Physical Description
Blanc de chine miniature penjing tree with base container and four right angled feet. The tree has three main branches with leaves and flowers at the base of the tree.
Primary Object Classification
Ceramic
Collection Area
Asian
Rights
If you are interested in using an image for a publication, please visit http://umma.umich.edu/request-image for more information and to fill out the online Image Rights and Reproductions Request Form.
Miniature Penjing Tree
porcelain with glaze
7 1/4 in. (18.41 cm)
Promised gift of William C. Weese, M.D., LSA ‘65
PG2020.2.90A-B
Title
Brush Rest
Artist(s)
Object Creation Date
Qing dynasty, Daoguang reign (1821 - 1850)
Medium & Support
porcelain with glaze and wood stand
Dimensions
3/4 in. (1.91 cm)
Credit Line
Promised gift of William C. Weese, M.D., LSA ‘65
Subject matter
It is one of the objects from ‘the scholar’s table’. If you were a Chinese scholar in the middle of the 18th Century – or even the 19th Century – you would have a table, and on it you would have a number of key things: brushes for calligraphy, a Bitong (a brush pot) to put your brushes in, and an ink stone to grind up ink.
https://www.bbc.co.uk/programmes/articles/2svW9tmQHWL8jCMLPDvKyX9/18th-century-chinese-brush-pot
Physical Description
Yellow glazed brush rest in the shape of partially unrolled scroll, applique on top, with Wang Bingrong mark on base. It has a custom wood stand.
Primary Object Classification
Ceramic
Collection Area
Asian
Rights
If you are interested in using an image for a publication, please visit http://umma.umich.edu/request-image for more information and to fill out the online Image Rights and Reproductions Request Form.
Brush Rest
porcelain with glaze and wood stand
3/4 in. (1.91 cm)
Promised gift of William C. Weese, M.D., LSA ‘65
PG2020.2.56A&B
Title
Ceramic Screen in Wood Frame
Artist(s)
Object Creation Date
Qing dynasty (early 19th century)
Medium & Support
porcelain with blue underglaze painting and wood
Dimensions
17 x 11 3/4 in. (43.18 x 29.85 cm)
Credit Line
Promised gift of William C. Weese, M.D., LSA ‘65
Subject matter
Blue and white porcelain screen, showing mountains, bridge with travelers, trees, mounted into rosewood frame decorated with blossoming lotus vines and scrolled ends probably made in the late 19th century. Since 16th century, it is increasingly popular to have painted porcelain slabs inlay in furniture, small screens, or wall decors. By the 19th century, porcelain screens had become highly marketable cultural items.
Physical Description
Blue and white porcelain screen, showing mountains, bridge with travelers, trees, mounted into rosewood frame decorated with blossoming lotus vines and scrolled ends probably made in the late 19th century.
Primary Object Classification
Ceramic
Collection Area
Asian
Rights
If you are interested in using an image for a publication, please visit http://umma.umich.edu/request-image for more information and to fill out the online Image Rights and Reproductions Request Form.
Ceramic Screen in Wood Frame
porcelain with blue underglaze painting and wood
17 x 11 3/4 in. (43.18 x 29.85 cm)
Promised gift of William C. Weese, M.D., LSA ‘65
Vases
Vases were prized decorations in wealthy homes in China as well as those of nobility and affluence overseas. From the early Song dynasty (960 - 1276) and all the way to the Qing dynasty (1644 - 1912), varying shapes and decorations of vases in the Weese Collection are reference points to key time periods and production areas.
PG2020.2.10
Title
Vase
Artist(s)
Jingdezhen Kiln
Object Creation Date
Qing dynasty (18th century)
Medium & Support
soft paste porcelain with blue underglaze painting
Dimensions
15 1/2 in. (39.37 cm)
Credit Line
Promised gift of William C. Weese, M.D., LSA ‘65
Subject matter
This Blue and White porcelain vase are decorated with scrolls of peony blossoms and branches of pomegranate and blossoms. The medalions are decorated with pomegranate in the center, circled by four hornless dragons. The hornless dragon is one of the so-called "nine sons of a dragon", strong and fearless.
Physical Description
Blue and white soft paste porcelain stork neck vase with rounded lower portion.
Primary Object Classification
Ceramic
Collection Area
Asian
Rights
If you are interested in using an image for a publication, please visit http://umma.umich.edu/request-image for more information and to fill out the online Image Rights and Reproductions Request Form.
Vase
soft paste porcelain with blue underglaze painting
15 1/2 in. (39.37 cm)
Promised gift of William C. Weese, M.D., LSA ‘65
PG2020.2.4
Title
Beaker vase
Artist(s)
Chinese
Artist Nationality
Chinese (culture or style)
Object Creation Date
Ming dynasty (circa 1640)
Medium & Support
porcelain with blue underglaze painting
Dimensions
17 3/4 in. (45.08 cm)
Credit Line
Promised gift of William C. Weese, M.D., LSA ‘65
Subject matter
This beaker vase depicts the theme of "The Four Gentlemen", which are plum blossom, orchid, bamboo and chrysanthemum. These plants share qualities of endurance, understated beauty and subtle fragrance, making them a great company to scholars of integrity. The shape of the beaker vase is modeled on the bronze wine beaker manfactured in the Shang dynasty （17th c. BC-11th c. BC). Unlike the decorative and display purpose of the blue-and-white beaker vase, the bronze beaker was used as a wine vessel. Mimicking the bronze vessel, the pictorial ornaments on the vase are also devided into three sections.
Physical Description
Blue and white porcelain beaker vase made during transitional period. This beaker vase depicts the theme of "The Four Gentlemen", which are plum blossom, orchid, bamboo and chrysanthemum. The shape of the beaker vase is modeled on the bronze wine beaker manfactured in the Shang dynasty （17th c. BC-11th c. BC).
Primary Object Classification
Ceramic
Collection Area
Asian
Rights
If you are interested in using an image for a publication, please visit http://umma.umich.edu/request-image for more information and to fill out the online Image Rights and Reproductions Request Form.
Beaker vase
porcelain with blue underglaze painting
17 3/4 in. (45.08 cm)
Promised gift of William C. Weese, M.D., LSA ‘65
PG2020.2.6
Title
Vase
Artist(s)
Object Creation Date
Qing dynasty, Yongzheng reign (1723 - 1735)
Medium & Support
porcelain with glaze
Dimensions
4 1/2 in. (11.43 cm)
Credit Line
Promised gift of William C. Weese, M.D., LSA ‘65
Subject matter
Qilin, Wade-Giles ch't-lin, in Chinese mythology, the unicorn whose rare appearance often coincides with the imminent birth or death of a sage or illustrious ruler. (The name is a combination of the two characters qi “male,” and lin, “female.”) A qilin has a single horn on its forehead, a yellow belly, a multicoloured back, the body of a deer, and the tail of an ox. Gentle of disposition, it never walks on verdant grass or eats living vegetation.
The first qilin is said to have appeared in the garden of the legendary Huangdi (Yellow Emperor) in 2697 BCE. Some three centuries later a pair of qilin were reported in the capital of Emperor Yao. Both events bore testimony to the benevolent nature of the rulers.
https://www.britannica.com/topic/qilin
Physical Description
A pale green, square base, expanding at the sides sides, with a Qilin on the top portion. There is a Yongzhen reign mark.
Primary Object Classification
Ceramic
Collection Area
Asian
Rights
If you are interested in using an image for a publication, please visit http://umma.umich.edu/request-image for more information and to fill out the online Image Rights and Reproductions Request Form.
Vase
porcelain with glaze
4 1/2 in. (11.43 cm)
Promised gift of William C. Weese, M.D., LSA ‘65
PG2020.2.39
Title
Vase
Artist(s)
Object Creation Date
Qing dynasty (18th-19th century)
Medium & Support
porcelain with glaze
Dimensions
5 in. (12.7 cm)
Credit Line
Promised gift of William C. Weese, M.D., LSA ‘65
Subject matter
In China, the pomegranate's chief significance has been as a symbol of fertility. Buddha is often depicted holding a pomegranate, a peach and a citron, the three fruits suggesting abundance of sons, years and happiness, respectively.
https://www.nytimes.com/1979/10/31/archives/pomegranates-rich-in-history-and-taste.html
Pomegranate shaped vase (Shiliuzun) originated in the Yongzheng period (1722 – 1735) during the Qing dynasty. Its form was taken from the pomegranate. The vase is a symbol of happiness and fertility. It has a globular body, sweeping up to a short flared neck.
https://www.chineseantiques.co.uk/a-guide-to-chinese-antique-vase-shapes/
Physical Description
Blanc de chine vase with pomegranate shape. It has a round bulbous body that narrows at the neck and has a pointed rim like the top of a pomegranate.
Primary Object Classification
Ceramic
Collection Area
Asian
Rights
If you are interested in using an image for a publication, please visit http://umma.umich.edu/request-image for more information and to fill out the online Image Rights and Reproductions Request Form.
Vase
porcelain with glaze
5 in. (12.7 cm)
Promised gift of William C. Weese, M.D., LSA ‘65
PG2020.2.124
Title
Vase (One of a Pair)
Artist(s)
Object Creation Date
Qing dynasty (19th century)
Medium & Support
porcelain with glaze
Dimensions
7 x 2 3/4 in. (17.78 x 6.99 cm)
Credit Line
Promised gift of William C. Weese, M.D., LSA ‘65
Subject matter
Tea dust glazes were first used during the Tang dynasty on stoneware, made at imperial porcelain kilns during the Ming, but reached their zenith during the Yongzheng and Qianlong periods of the Qing dynasty. Tea dust glazes, named thus because of their color-likeness to ground tea, are opaque crystalline glazes with a satin finish. While the color can range, they are usually an olive green with yellow or brown specks, which are actually tiny crystals, formed by iron and manganese reacting with silicates during the cooling process of the firing. The color is also similar to the patina of antique ritual bronzes, which may have led to their popularity during the Ming and Qing dynasties.
Physical Description
Pair of porcelain teadust vases in the shape of mallet. Has large and wide base that, going up, narrows and then widens into a bulbous body, then narrows into a long neck that has two abstract shaped handles, the neck then flares out at the rim.
Primary Object Classification
Ceramic
Collection Area
Asian
Rights
If you are interested in using an image for a publication, please visit http://umma.umich.edu/request-image for more information and to fill out the online Image Rights and Reproductions Request Form.
Vase (One of a Pair)
porcelain with glaze
7 x 2 3/4 in. (17.78 x 6.99 cm)
Promised gift of William C. Weese, M.D., LSA ‘65
PG2020.2.135
Title
Meiping Vase
Artist(s)
Object Creation Date
Qing dynasty (18th - 19th century)
Medium & Support
porcelain with glaze
Dimensions
8 x 2 3/4 in. (20.32 x 6.99 cm)
Credit Line
Promised gift of William C. Weese, M.D., LSA ‘65
Subject matter
The flambé glaze was developed in the early 18th Century as an homage to the famous Jun glazes found on stoneware vessels during the Song to Early Ming Dynasties. Using copper as base element, the glaze also contains iron and other metals to create the different splashes of color.
This type of glaze was much beloved by the Yongzheng Emperor (reign 1723-1735), and was continuously used to decorate porcelain vessels throughout the rest of the Qing Dynasty (1644-1911).
https://www.bidsquare.com/blog/chinese-flambe-glazed-bottle-vase-sells-online-for-unexpected-25-691
Physical Description
This flambé Meiping vase has a thin base that widens towards the top and is followed by a round shoulder, a narrow neck, and small opening that slightly flares out.
Primary Object Classification
Ceramic
Collection Area
Asian
Rights
If you are interested in using an image for a publication, please visit http://umma.umich.edu/request-image for more information and to fill out the online Image Rights and Reproductions Request Form.
Meiping Vase
porcelain with glaze
8 x 2 3/4 in. (20.32 x 6.99 cm)
Promised gift of William C. Weese, M.D., LSA ‘65