A Blanc de chine “Crucifixion” group. Dehua Kilns, Fujian Province.

ADDITIONAL INFORMATION :

This porcelain group was made in Dehua kilns. Christian influence in China dates back to the 7th century and was gradually reinforced over time, particularly following the arrival of the first Jesuit mission at the end of the 16th century. The Society of Jesus progressively established itself in China, introducing occidental science and culture. The Jesuits sought to reach the highest levels of society, especially through engagement with the literati. They came to occupy an important position at the imperial court, first under the Shunzhi Emperor, and later under the Kangxi Emperor, both of whom had Jesuit preceptors.

Several religious groups from Dehua are known, notably depictions of the Madonna and Child, which exist in multiple variations (see Donnelly, Blanc de Chine, 1969, pl. 122, “Christian influence: Madonna and Child”). Numerous examples of such figures are preserved in museum collections, including one in the Victoria and Albert Museum, London, bequeathed by Donnelly and registered under inventory number 1980,0728.91. On connait également d’autres sujet religieux provenant de Dehua, notamment une représentation de Saint Antoine de Padou (Donnelly, Blanc de chine, 1969, Planche 123. A.), une représentation de Sainte Marie- Madeleine et Sainte Marie tenant le Christ dans leur bras (Donnelly, Blanc de chine, 1969, Planche 123. B.), également une représentation de Saint Jean-Baptiste (Blanc de Chine, The Great porcelaine of Dehua, Robert. H. Blumenfield, p.84, Fig.B), ou encore la Madone entourée d’anges (Blanc de Chine, The Great porcelaine of Dehua, Robert. H. Blumenfield, p.84, Fig.A). Other known religious figures produced in Dehua include a representation of Saint Anthony of Padua (Donnelly, Blanc de Chine, 1969, pl. 123.A); a depiction of Saint Mary Magdalene and the Virgin Mary holding the body of Christ (Donnelly, Blanc de Chine, 1969, pl. 123.B); as well as a figure of Saint John the Baptist (Blanc de Chine: The Great Porcelain of Dehua, Robert H. Blumenfield, p. 84, fig. B); and a Madonna surrounded by angels (Blanc de Chine: The Great Porcelain of Dehua, Robert H. Blumenfield, p. 84, fig. A).

Beyond figural representations, a group depicting a pulpit, intended to serve as an incense burner, is also recorded (Blanc de Chine: The Great Porcelain of Dehua, Robert H. Blumenfield, p. 84, fig. C). A similar incense burner in the collection of the Victoria and Albert Museum is matched by an example from the Hickley Collection in Singapore, described instead as a pagoda base (Blanc de Chine: Porcelain from Dehua, A Catalogue of the Hickley Collection, Singapore, Rose Kerr and John Ayers, 2002, fig. 47). Its octagonal form also resembles the base structure of Buddhist sanctuaries.

Another group, sold in the early 2000s, was catalogued as “The Crucifixion” (Christie’s London, The China Trade Sale, 5 April 2000, lot 77). However, it is also plausible that this group represents a gathering of nuns praying close to a crucifix, in the manner of the example illustrated by Robert H. Blumenfield (Blanc de Chine: The Great Porcelain of Dehua, p. 85, fig. B). According to Donnelly, grottos representing Calvary, and thus the Crucifixion of Christ, are indeed documented and date from the early 18th century.

While other known groups may include a cross or crucifix in the background, it remains rare to find compositions that depict solely the Crucifixion, rather than religious figures in prayer close to a cross. Nevertheless, an identical group was exhibited from 24 April 1997 to 24 July 1997 at the Instituto Cultural de Macau during the exhibition The Unknown Charm: Blanc de Chine Figures of the Dun Xian Tang Collection.

BIBLIOGRAPHY :

For an identical group, see :

– The Unknown Charm – O Charme Desconhecido: Blanc de Chine Figures of the Dun Xian Tang Collection, Museum de Arte Sacra das Ruínas de São Paulo, Instituto Cultural de Macau, 1997.

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