Entretien : Regards croisés sur la vraie et fausse porcelaine de Chine
The question of the "true" and the "false" recurrently agitates the communities of art market and museums. It is also present in watermark in some academic publications about the materiality of objects. This is a complex issue that must be grasped by researchers in its transdisci...
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| Format: | Article |
| Language: | English |
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UMR 5136- France, Amériques, Espagne – Sociétés, Pouvoirs, Acteurs (FRAMESPA)
2019-06-01
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| Series: | Les Cahiers de Framespa |
| Online Access: | https://journals.openedition.org/framespa/6428 |
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| author | Sophie Duhem Émilie Roffidal Maris Boyd Gillette Laurent Schroeder Antony J. Allen Pierre Ansas |
| author_facet | Sophie Duhem Émilie Roffidal Maris Boyd Gillette Laurent Schroeder Antony J. Allen Pierre Ansas |
| author_sort | Sophie Duhem |
| collection | DOAJ |
| description | The question of the "true" and the "false" recurrently agitates the communities of art market and museums. It is also present in watermark in some academic publications about the materiality of objects. This is a complex issue that must be grasped by researchers in its transdisciplinary dimension - crossing history, art history, archeology or economic history - as it must be understood in its technical and material dimensions mobilizing the hard sciences and the field of expertise. It can not be exempted from a purely aesthetic and even moral approach.This multifaceted approache, necessary for any global consideration of the true / false phenomenon, is even more problematic for Chinese porcelain, since it includes a terminology difficult to set. Thus, the vocabulary of "false" in Chinese, English or French is very diverse; it also reflects various conceptual realities. Is there a "real" and/or a "false" Chinese porcelain? What precise criteria define today the boundaries between what is true and what is not? Can we not consider, in fine, the uniqueness of an imitated piece as the expression of a true? The answer to this question in a single mode can not be obviously satisfactory. Should be taken into account finer criteria, specific to amateurs, collectors, craftsmen, art dealers or researchers, who convey their own definitions of "false".This interview, led by Sophie Duhem and Émilie Roffidal, has for objective to gather crossed approaches of specialists of Asian art market, collectors, academics and curators auround four axes :. definitions and perceptions of false Chinese ceramic. location, implemented ways and strategies. ethical questions (financial, patrimonial stakes, etc.). experiences feedback of landmarks or significant events on this topic of true and false. |
| format | Article |
| id | doaj-art-90a068d347d54b5f878fe89c9b40f62f |
| institution | Kabale University |
| issn | 1760-4761 |
| language | English |
| publishDate | 2019-06-01 |
| publisher | UMR 5136- France, Amériques, Espagne – Sociétés, Pouvoirs, Acteurs (FRAMESPA) |
| record_format | Article |
| series | Les Cahiers de Framespa |
| spelling | doaj-art-90a068d347d54b5f878fe89c9b40f62f2025-01-09T15:44:13ZengUMR 5136- France, Amériques, Espagne – Sociétés, Pouvoirs, Acteurs (FRAMESPA)Les Cahiers de Framespa1760-47612019-06-013110.4000/framespa.6428Entretien : Regards croisés sur la vraie et fausse porcelaine de ChineSophie DuhemÉmilie RoffidalMaris Boyd GilletteLaurent SchroederAntony J. AllenPierre AnsasThe question of the "true" and the "false" recurrently agitates the communities of art market and museums. It is also present in watermark in some academic publications about the materiality of objects. This is a complex issue that must be grasped by researchers in its transdisciplinary dimension - crossing history, art history, archeology or economic history - as it must be understood in its technical and material dimensions mobilizing the hard sciences and the field of expertise. It can not be exempted from a purely aesthetic and even moral approach.This multifaceted approache, necessary for any global consideration of the true / false phenomenon, is even more problematic for Chinese porcelain, since it includes a terminology difficult to set. Thus, the vocabulary of "false" in Chinese, English or French is very diverse; it also reflects various conceptual realities. Is there a "real" and/or a "false" Chinese porcelain? What precise criteria define today the boundaries between what is true and what is not? Can we not consider, in fine, the uniqueness of an imitated piece as the expression of a true? The answer to this question in a single mode can not be obviously satisfactory. Should be taken into account finer criteria, specific to amateurs, collectors, craftsmen, art dealers or researchers, who convey their own definitions of "false".This interview, led by Sophie Duhem and Émilie Roffidal, has for objective to gather crossed approaches of specialists of Asian art market, collectors, academics and curators auround four axes :. definitions and perceptions of false Chinese ceramic. location, implemented ways and strategies. ethical questions (financial, patrimonial stakes, etc.). experiences feedback of landmarks or significant events on this topic of true and false.https://journals.openedition.org/framespa/6428 |
| spellingShingle | Sophie Duhem Émilie Roffidal Maris Boyd Gillette Laurent Schroeder Antony J. Allen Pierre Ansas Entretien : Regards croisés sur la vraie et fausse porcelaine de Chine Les Cahiers de Framespa |
| title | Entretien : Regards croisés sur la vraie et fausse porcelaine de Chine |
| title_full | Entretien : Regards croisés sur la vraie et fausse porcelaine de Chine |
| title_fullStr | Entretien : Regards croisés sur la vraie et fausse porcelaine de Chine |
| title_full_unstemmed | Entretien : Regards croisés sur la vraie et fausse porcelaine de Chine |
| title_short | Entretien : Regards croisés sur la vraie et fausse porcelaine de Chine |
| title_sort | entretien regards croises sur la vraie et fausse porcelaine de chine |
| url | https://journals.openedition.org/framespa/6428 |
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