The Shiwan Shouxing Pottery Scuplture: Statement of Significance

This sculpture represents the deity from Daoism: Shouxing, which is a wedding gift to the owner in 1992 (the front and side view refer to figure. 1). Considering both the friend and the married couple are Cantonese, the friend chooses the pottery sculpture set that produces locally, which is the Sanxing pottery figurine set: Fuxing (fortune), Luxing (prosperity), and this sculpture, Shouxing (longevity). The sculpture was being placed on the top of the cupboard for more than a decade, and it has been placed on the cupboard for almost 20 years even after the owner has moved the house. 

Figure.1 front and side view of Shouxing

The identifiable marks from the bottom of the sculpture state the name of the maker and the name of the kiln, Shiwan (refer to Figure. 2) . This kiln was famous for lively figurine since the 6th century (Lin, 2017), and the renowned skill is also demonstrated in the Shouxing sculpture. When China met her heyday during maritime trading, Shiwan kiln has counted a part in this history, by the early Canton immigrates brought the sculpture as they brought their memory, culture with home to a new place, also their long for staying connected with the immigrant’s subcultural group (Liu, 2017). 

Figure. 2 Identifiable marks at the base of sculpture

Besides the social value from Shiwan kiln, the appearances of Shouxing also include cultural significance. The earliest description of Shouxing in Chinese literature is from Hanyue Poem (汉乐府), a poetry collection that could date back to BC 200. The feature of Shouxing has become an elderly who is “big protruded forehead”, “long ear”, “riding a deer”, “holding long wand and peach” 

(refer to following website due to copyright: 

• https://digicol.dpm.org.cn/cultural/detail?id=5a2261795a414c3dba1bf6f1802a86d9
• https://digicol.dpm.org.cn/cultural/detail?id=96b836f79f1e47e3a4582ce6c225e72f). 

The last feature particularly represents healthy and longevity, therefore the disjoin on the wand holds necessary to receive treatment in the current situation (refer to Figure.4 ). 

Figure.4 Disjoin on wand on object's proper left side

The whole sculpture remains in a safe and stable condition in the assessment of 2021. However there are crackles and bubbles found on the glaze, and some insect frass are found on the object surface that needs to be cleaned.

Reference:

Cheng, B. & Sun, L.., 2020. 南极老人星崇拜下的寿星图像传播及其民俗意蕴 [Dissemination of the Image of the Longevity Star under the Worship of the Antarctic Old Man Star and Its Folk Implication]. Journal of Guangzhou University (Social Science Edition). 19-1, 12-18 

Liu, M., 2017. 中国传统工艺技术-石湾陶卷 [Chinese traditional craftsmanship - Shiwan Pottery]. Beijing: China Science Publishing & Media.

Liu, D., 2013. 石湾陶塑技艺 [Shiwan Pottery Sculpture Skill]. Guangzhou: Guangdong World Books Publishing Company.

故宫博物院数字文物库网站. https://digicol.dpm.org.cn/.

 

Verner’s Pattern VII compass and Case: Significance

 

This compass was issued and used during the first world war by a soldier in the 13^th battalion of the Rifle Brigade, which was stationed in France and Belgium (Rowlands, 1932). It is thought to have been used from 1916 as part of the soldier’s kit issued by the British War office. The battalion was a part of the battle of the Somme, and the battle of Arras, although it is unknown if the compass or its owner were present for these battles (Rowlands, 1932). The compass has remained within the family, passing to the son and grandson of the original owner.

The compass and case demonstrate a distinctive style synonymous with Verner’s pattern compasses, as well as displaying craftsmanship and precision engineering associated with a precision navigation instrument (Figure1) (Hutchinson, 1915). The craftsmanship and manufacture of the compass and case convey the style and value of the past and the regional variations to design (Combs, 2003).

Figure 1: Verner's Pattern VII compass issued during the First World War, and demonstrating the Verner's style of compass

The social significance of the compass derives from the personal emotional connections that derive from it remaining within the family and providing a tangible link to a family member and significant events within the family history.

Research significance is diminished by the condition of the compass, with parts of the compass missing (figure 2). Additionally, its future value is impacted by a stability and safety assessment conducted on the possible radium paint identified. The safety of the compass and case will significantly impact the value as a large part of the associated value comes from its useability, sentimental and aesthetic values, which would be compromised if safety concerns made the compass unable to be displayed or handled (Appelbaum, 2007).

Figure 2: The previous location of the finger ring can be identified by the holes which would have secured it to the compass. 

The condition also impacts the values associated with an object. The repair of the dial with household tape reduced the authenticity of the object by the inclusion of new materials (figure 3) (Appelbaum, 2007).

Figure 3: The fractured mother-of-pearl dial. The tape keeping the dial in place has yellowed.

The leather case also displays scratches associated with age-related wear. Of note, however, is the cracking of the leather on the strap, likely from the movement of the leather through the buckle (figure 4). Cracking is also appearing on the side of the case, likely occurring from the case's opening. This wear, however, also demonstrates how the compass case was being used in the past.

Figure 4: The cracking of the leather likely from the movement of the leather through the buckle.

  

References:

Appelbaum, B., 2007. Conservation Treatment Methodology. Oxford: Elsevier.

Combs, J. H., 2003. The Antiques Trade: The Diffusion of America's Cultural Patrimony. Material Culture, 35(1), pp. 42-54.

Hutchinson, H. D., 1915. MILITARY SKETCHING MADE EASY, AND MILITARY MAPS EXPLAINED. 7th ed. London: Gale & Polden LTD..

Rowlands, D. H., 1932. For the Duration: The Story of the Thirteenth Battalion the Rifle Brigade. London: Simpkin Marshall Limited.

 

Hollinshead and Kirkham Cup, 1930's: Statement of Significance

  

Figure 1. Front of the cup. There are two spots of chipped damage on the top and bottom of the image. There is a scratch line along the blue dots on the cottage path. 

The teacup is an earthenware ceramic with tin delft-like overglaze, decorated with a cottage and flower scene on one side, green and blue ‘drips’ from the top rim, and a dark blue line on the rim circumference (See Fig. 1). The ‘Made in England’ on the base, combined with the green unicorn of the stamp meant that it was made between 1933-1942 from Hollinshead and Kirkham (H&K) Tunstall (Ravenhill, 2021).  

Earthenware such as ironstone and creamware was used by the United Kingdom to replace the more expensive Chinese porcelain in the 19th century, and fully patterned tea sets were more popular and widely produced. However, the individual painted design here is valuable. The characteristics of the ‘homestead’ design make the cup rarer than others from H&K. It arrived in Ontario, Canada after 1934, which according to the makers mark, is the earliest year the cup could have been exported to Canada in the Darlison family farmhouse.  

 

Figure 2. View of the base of the cup. There are spots of dirt damage on the feet of the base, as well as a line of glaze removed, beneath the two black marks. These imbedded dots could be the result of soluble salt crystallization over the years. 

Once it was moved to California it gathered dust and debris from 2008 until 2021, when it was transported to England. There are chips on the outside of the rim, and a few on the edge of the outer base. These chips are of both the glaze and have small bits of clay also removed. However, there are no detached pieces evidential from the chipped spots, and so cannot be replaced. The existing chips in the cups surface are not on the main cottage and flower decoration, and so the image is not in danger (See Fig. 3). In the bottom of the cup is a ring of slight discolouration that seeps into a few of the hairline cracks (see Fig. 2). There are no previous treatments done to the object as there are no pieces to reattach, or any areas of immediate risk to the integrity of the cup. 

 

 

 

Figure 3. Map of damage of the teacup. The light grey lines are the painted details. The green marks are any small divots or scratches in the glaze surface. The red outlines are spots of chipped glaze to the point of glaze loss, where the ceramic is visible.