Chinese porcelain plastic of the 1950s as a subject of private collection

Abstract

In China porcelain throughout history has been very collectible, however, the cost of ancient porcelain and the products of state workshops was pretty high, so ordinary collectors could not afford to buy them. In the 1950s the situation radically changed: at this time a new phenomenon in art was developed — a small porcelain plastic, which received a specific meaning, its artistic language was distinguished by the originality, it perfectly complemented the furniture and combined with the environment, having received because of that the recognition of collectors. In the 21st century, private collectibles of cultural heritage objects are encouraged by the government of the PRC and receives increasing attention from the public. In addition, the last years are characterized by the manifestation of “noble” interest in China porcelain products of the second half of the 20th century, including the works, not the following traditional artistic concepts. This article is devoted to the consideration of private modern collections of small porcelain plastics of the 1950s in China. The aim of the article is to consider the collection and artistic value of porcelain plants of the 1950s, as well as revealing preferences, determining the directions and reasons for its private collectible. The work is attempted to study and analyse the activities of such Chinese patrons of porcelain, like Juanfen, Tao Zhaocin and Dan Cinfu, which made significant efforts to search, collect and study Chinese porcelain art, and also made a considerable contribution to the foundation and the establishment of various institutions and museums, the subject of the study and collectible of which is porcelain plastic. The analysis of the exhibits of the three collections is designed to shed light on further directions and identify prospects for the development of collection and research activities in the field of chalk porcelain plastic of the 1950s.