Incense burner

Incense burner

The Peacock Room, originally the dining room in the home of Frederick R. Leyland, was intended to showcase its owner's extensive collection of Chinese blue-and -white porcelain. Among his 300-plus pieces were examples similar to this vessel. Known as Kangxi ware, these pots were produced in the Jingdezhen region during the Kangxi reign (1662-1722). They became so popular with Victorian consumers that the press mockingly dubbed the craze "Chinamania." <p>When Charles Lang Freer purchased the Peacock Room in London in 1904, it had already been emptied of its blue-and-white porcelains. Freer, in any case, did not care for their slick surfaces and bright glazes. Beginning in the 1980s, the Freer Gallery of Art began to acquire blue-and-whites for display in the Peacock Room, in an effort to evoke the chromatic relationships and pictorial patterns that inspired Whistler and his contemporaries.

late 17th century

Anonymous gift

Porcelain with cobalt pigment under clear glaze

Jingdezhen ware

HxW: 14.3 x 23.5 cm

F1978.40

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1

125

South

Qing dynasty

Jingdezhen

China

Incense burner

Incense burner

17th-19th century

Gift of Charles Lang Freer

Matsuki Bunkyo

Stoneware with Jun-style glaze

HxW: 8.4 x 11.0 cm

F1905.272

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2

113.1

South

Qing dynasty

China

United States

Boston

Massachusetts

Incense burner

Incense burner

Described by Charles Freer as "an interesting specimen" that was "strongly modeled and beautifully glazed," this incense burner was purchased during the collector's 1907 trip to Japan. It is an example of Jun ware, which was produced at a number of imperial kilns in Henan province from the Song dynasty (960-1279) through the fifteenth century. The distinctive blue colors of the glaze&#151;which can range from greenish-blue to violet&#151;are the result of a chemical reaction that occurs during the firing and cooling process. Variations in tone occur because some areas of the pot are less thickly glazed than others. This chromatic complexity appealed to Freer, who acquired many examples of Jun ware. In the Peacock Room, which Freer called "the blue room," this piece was one of more than forty Jun or similarly blue-glazed ceramics displayed along the south wall, just beneath Whistler's allegorical mural of two battling peacocks.

late 13th-late 14th century

Gift of Charles Lang Freer

Stoneware with Jun glaze and copper pigment

Jun ware

HxW: 10.4 x 10.4 cm

F1907.73a-b

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2

99.2

South

Yuan dynasty

China

Incense burner

Incense burner

late 13th-late 14th century

Gift of Charles Lang Freer

Yamanaka and Co.

Stoneware with Jun glaze and copper pigment

Jun ware

HxW: 11.6 x 13.9 cm

F1905.80a-b

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2

96.1

South

Yuan dynasty

China

United States

New York

New York

Incense burner

Incense burner

The Peacock Room, originally the dining room in the home of Frederick R. Leyland, was intended to showcase its owner's extensive collection of Chinese blue-and -white porcelain. Among his 300-plus pieces were examples similar to this vessel. Known as Kangxi ware, these pots were produced in the Jingdezhen region during the Kangxi reign (1662-1722). They became so popular with Victorian consumers that the press mockingly dubbed the craze "Chinamania." <p>When Charles Lang Freer purchased the Peacock Room in London in 1904, it had already been emptied of its blue-and-white porcelains. Freer, in any case, did not care for their slick surfaces and bright glazes. Beginning in the 1980s, the Freer Gallery of Art began to acquire blue-and-whites for display in the Peacock Room, in an effort to evoke the chromatic relationships and pictorial patterns that inspired Whistler and his contemporaries.

mid 17th-early 18th century

Gift of Mrs. Maureen R. Jacoby in memory of Rolf Jacoby

Porcelain with cobalt pigment under clear glaze

Jingdezhen ware

HxWxD: 12.1 x 18.7 x 10.2 cm

F1992.25

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1

94

South

Qing dynasty

Jingdezhen

China