Jar

11th-12th century

Stone-paste painted with glaze

HxW: 13.2 x 10.2 cm

Syria

Gift of Charles Lang Freer

2

209

West

Jar

F1902.246

Dikran G. Kelekian

Paris

France

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Jar

11th-12th century

Stone-paste decorated with glaze

HxW: 35.9 x 27.0 cm

Syria

Gift of Charles Lang Freer

2

205

West

Jar

F1906.224

Dikran G. Kelekian

Paris

France

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Jar

16th-mid 17th century

Ming dynasty

Earthenware with copper-green lead-silicate glaze

HxW: 15.9 x 18.7 cm

China

Gift of Charles Lang Freer

2

204

West

Jar

F1906.248

Yamanaka and Co.

New York

New York

United States

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Jar

12th-13th century

Stone-paste painted under glaze

HxW: 39.5 x 31.4 cm

Syria

Gift of Charles Lang Freer

2

200

West

Jar

F1904.143

Siegfried Bing

Paris

France

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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."

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.

Jar

Jingdezhen ware

late 17th-early 18th century

Qing dynasty

Porcelain with cobalt pigment under clear glaze

HxWxD: 45.5 x 22.5 x 22.5 cm

Jingdezhen

China

Purchase--Mary Livingston Griggs and Mary Griggs Burke Foundation

1

200

West

Jar

F1986.20a-b

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Jar

16th-17th century

Ming dynasty

Stoneware with copper and iron pigments under white glaze

H: 41.2 cm

China

Gift of Charles Lang Freer

2

195

West

Jar

F1905.90.1-2

Yamanaka and Co.

New York

New York

United States

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Jar

12th-13th century

Glazed clay

HxW: 32.6 x 26.2 cm

Syria

Gift of Charles Lang Freer

2

192

West

Jar

F1908.13

Dikran G. Kelekian

Paris

France

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Jar

14th century?

Stone-paste painted under glaze

HxW: 19.2 x 15.7 cm

Syria

Gift of Charles Lang Freer

2

185

West

Jar

F1907.185

Dikran G. Kelekian

Paris

France

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Jar

12th-14th century

Stone-paste; painted under glaze

HxW: 27.1 x 22.8 cm

Syria

Gift of Charles Lang Freer

2

184

West

Jar

F1906.223

Dikran G. Kelekian

Paris

France

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Jar

first half of 13th century

Goryeo period

Stoneware with white and black inlay and black painting under celadon glaze

HxW: 20.5 x 20.7 cm

Gangjin or Buan kilns

Korea

Gift of Charles Lang Freer

2

180

West

Jar with inlaid design of three phoenixes

F1907.367

Yamanaka and Co.

New York

New York

United States

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Jar

late 13th-early 14th century

Goryeo period

Stoneware with white and black slips inlaid under celadon glaze; gold lacquer repair

HxWxD: 25.4 x 20.2 x 17.8 cm

Gangjin or Buan kilns

Korea

Gift of Charles Lang Freer

2

179

West

Jar with flattened sides

F1904.330

Yamanaka and Co.

New York

New York

United States

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Freer bought this late Ming or early Qing dynasty jar from the New York branch of Yamanaka and Company, where he was a regular customer. At the time, Freer believed that it was an Edo-period piece of Imari ware from Japan. Describing it in his notes as "extraordinary," he placed it between two Satsuma ware bottles, each decorated with a landscape design in subtle shades of blue. He may have discerned a chromatic relationship between those two vessels and this rough porcelain jar, with its cobalt decoration of floral vine scrolls. The jar's rim formation shows that it was made in imitation of Chinese pewter containers for storing green leaf tea and fitted with a flat inner lid and cylindrical outer lid that would have just covered the unglazed area of the neck. By the time Freer acquired the jar, however, the lost double lid had been replaced with a carved wooden cover of the sort used on Chinese ginger jars displayed in Western parlors and dining rooms at the turn of the century.

Jar

16th-17th century

Ming or Qing dynasty

Porcelain with cobalt decoration under clear glaze

HxW: 15.1 x 15.2 cm

China

Gift of Charles Lang Freer

2

169

West

Jar

F1902.240a-d

Yamanaka and Co.

New York

New York

United States

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Jar

11th-12th century

Stone-paste; painted under glaze

HxW: 28.4 x 20.2 cm

Syria

Gift of Charles Lang Freer

2

158

West

Jar

F1907.184

Dikran G. Kelekian

Paris

France

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Jar

Glazed clay

HxW: 17.2 x 18.0 cm

Iran

Gift of Charles Lang Freer

2

156

West

Jar

F1906.41

Dikran G. Kelekian

Paris

France

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Jar

11th-12th century

Stone-paste painted with glaze

HxW: 31.0 x 29.9 cm

Syria

Gift of Charles Lang Freer

2

149

West

Jar

F1905.239

Dikran G. Kelekian

Paris

France

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Jar

19th century?

Stone-paste painted under glaze

HxW: 27.3 x 18.0 cm

Iran

Gift of Charles Lang Freer

2

146

West

Jar

F1902.197

Dikran G. Kelekian

Paris

France

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Jar

19th century

Joseon period

Porcelain with ash glaze; lacquered wooden lid

HxW: 21.7 x 26.3 cm

Korea

Gift of Charles Lang Freer

2

142

West

Jar

F1898.1a-c

Yamanaka and Co.

New York

New York

United States

http://141.217.97.109/plugins/Dropbox/files/peacock-jpg/JPEG/F1898.1a-c.jpg

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."

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.

Jar

Jingdezhen ware

late 17th-early 18th century

Qing dynasty

Porcelain with cobalt pigment under clear glaze

HxWxD: 44.5 x 23.5 x 23.5 cm

Jingdezhen

China

Purchase--Mary Livingston Griggs and Mary Griggs Burke Foundation

1

138

West

Jar with cover

F1986.21a-c

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Jar

16th-mid 17th century

Ming dynasty

Stoneware with iron slip under mottled ash glaze.

HxW: 19.0 x 24.8 cm

China

Gift of Charles Lang Freer

2

137

West

Jar with five vertical lugs and short spout

F1901.174

Y. Fujita and Company

Kyoto

Japan

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Jar

Zhangzhou ware

16th century

Ming dynasty

Stoneware with copper-green lead-silicate glaze

HxW: 23.5 x 23.1 cm

Zhangzhou kilns

China

Gift of Charles Lang Freer

2

136

West

Jar with five loop handles and relief floral vinescroll decoration

F1902.204

Yamanaka and Co.

New York

New York

United States

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Freer made special note of the carved design on the base of this Yuan dynasty jar, a star-shaped or spoked mark that appears on other ceramics in Freer's collection. The gray stoneware with copper pigment is glazed in an opaque blue gray, and its finish bears an all-over crackle brown stain with areas of reddish purple and flecks of green. The uneven and sometimes heavy blobs that appear towards the base of the jar are characteristic of Jun-ware ceramics; Freer displayed more than 40 Jun or Juan-style vessels in the Peacock Room beneath Whistler's fighting peacock mural.

Jar

Jun ware

1279-1368

Yuan dynasty

Stoneware with Jun glaze and copper pigment

HxW: 12.0 x 16.1 cm

China

Gift of Charles Lang Freer

2

127

West

Jar

F1907.64

http://141.217.97.109/plugins/Dropbox/files/peacock-jpg/JPEG/F1907.64.jpg

Upon purchasing this late thirteenth-to-fourteenth century Yuan dynasty jar from Yamanaka and Company, Freer described it as "fine" and "very interesting." The vessel is rather large with a bulbous, inverted pear-shaped body and a cylindrical mouth-rim. It is crafted from dark gray clay and glazed in light blue, producing variations of color that range from cream to olive. Its texture is a brownish crackle and the gold lacquer finish inside the rim adds a luminescent quality. Freer displayed the jar on what is now the south wall of the Peacock Room.

Jar

Jun ware

late 13th-late 14th century

Yuan dynasty

Stoneware with Jun glaze; gold lacquer repair

HxW: 23.0 x 25.5 cm

China

Gift of Charles Lang Freer

2

125

South

Jar

F1903.236

Yamanaka and Co.

New York

New York

United States

http://141.217.97.109/plugins/Dropbox/files/peacock-jpg/JPEG/F1903.236.jpg

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."

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.

Jar

Jingdezhen ware

1662-1722

Qing dynasty

Porcelain with cobalt pigment under clear colorless glaze

HxWxD: 32.7 x 13.2 x 13.2 cm

Jingdezhen

China

Gift of Dr. and Mrs. Henry Kumm in memory of Florence Mabel Beale

1

123

South

Beaker-shaped jar with lid

F1982.15a-c

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Considered one of the five "great wares" of Chinese ceramics, Jun ware was produced at a number of kilns in Henan province from the Song dynasty (960-1279) through the fifteenth century. The distinctive blue colors of the glaze—which can range from greenish-blue to violet—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 bowl 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.

Jar

Jun ware

1279-1368

Yuan dynasty

Stoneware with Jun glaze and copper pigment

HxW: 11.6 x 13.7 cm

China

Gift of Charles Lang Freer

2

120

South

Jar with two loop handles

F1905.95

Yamanaka and Co.

New York

New York

United States

http://141.217.97.109/plugins/Dropbox/files/peacock-jpg/JPEG/F1905.95.jpg

Jar

Jun ware

late 13th-late 14th century

Yuan dynasty

Stoneware with Jun glaze

HxW: 13.2 x 17.8 cm

China

Gift of Charles Lang Freer

2

119

South

Jar

F1901.156

Yamanaka and Co.

New York

New York

United States

http://141.217.97.109/plugins/Dropbox/files/peacock-jpg/JPEG/F1901.156.jpg

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."

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.

Jar

mid 17th-early 18th century

Qing dynasty

Porcelain with cobalt pigment under clear glaze

HxWxD: 20.6 x 9.2 x 9.2 cm

Jingdezhen

China

Gift of Mr. Pierre Durand

1

114

South

Jar with cover, one of a five-piece garniture

F1992.47.4a-b

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Jar

Jun ware

late 13th-late 14th century

Yuan dynasty

Stoneware with Jun glaze

HxW: 20.4 x 22.5 cm

China

Gift of Charles Lang Freer

2

104

South

Jar

F1907.72a-b

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Jar

Yixing ware

19th century

Qing dynasty

Stoneware with Jun-style glaze

HxW: 11.0 x 12.4 cm

Yixing

China

Gift of Charles Lang Freer

2

103.1

South

Jar

F1907.39a-b

http://141.217.97.109/plugins/Dropbox/files/peacock-jpg/JPEG/F1907.39a-b.jpg

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."

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.

Jar

mid 17th-early 18th century

Qing dynasty

Porcelain with cobalt pigment under clear glaze

HxWxD: 20.6 x 9.2 x 9.2 cm

Jingdezhen

China

Gift of Mr. Pierre Durand

1

102

South

Jar with cover, one of a five-piece garniture

F1992.47.5a-b

http://141.217.97.109/plugins/Dropbox/files/peacock-jpg/JPEG/F1992.47.5a-b.jpg

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."

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.

Jar

mid 17th-early 18th century

Qing dynasty

Porcelain with cobalt pigment under clear glaze

HxWxD: 27.3 x 19.1 x 19.1 cm

Jingdezhen

China

Purchase - Friends of Asian Arts

1

91

South

Jar with cover

F1993.10a-b

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When Freer purchased this jar in 1902, its origins were not well understood. He subsequently described it as "rare" and noted, "I feel confident that this unusual specimen is Sung." It was actually produced in the nineteenth century, and its damaged neck had been ground down and disguised with a wooden lid. The prancing animal and style of painting seem to grow out of a Chinese folk tradition, with the animal resembling the galloping horses drawn with slip on jars from Suzhou, near Shanghai. In the Peacock Room, Freer displayed this jar near other Chinese ceramics, including a green-glazed funeral jar and a white bottle with a touch of green, both dating from the Song dynasty.

Jar

19th century

Qing dynasty

Stoneware with white slip and cobalt pigment under clear crackled glaze; wooden lid with amethyst knob

HxW: 18.2 x 19.9 cm

China

Gift of Charles Lang Freer

2

91

South

Jar with design of deer holding lingzhi fungus

F1902.4a-b

R. E. Moore

New York

New York

United States

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This lidded jar, which Freer acquired from the dealer Matsuki Bunkyo in 1896, was originally thought to be much older. Freer initially was uncertain if it were from the Song, Yuan, or Ming dynasty, but, perhaps because he thought it "fine," finally convinced himself in 1918 that it was indeed a Song piece. It is actually from the 19th century, and it was formed by the modern industrial technique of slip-casting. In the Peacock Room in Detroit, this jar was displayed on a high shelf along the east wall, where the butterfly design related to neighboring ceramics decorated with images of flora and fauna.

Jar

Cizhou-type ware

19th century

Qing dynasty

Stoneware with white slip, iron pigment under and over clear glaze.

HxWxD: 17.5 x 13.0 x 18.1 cm

China

Gift of Charles Lang Freer

2

82

East

Lidded jar with design of butterflies

F1896.42a-b

Matsuki Bunkyo

Boston

Massachusetts

United States

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