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Enid Tsui

The Oriental Ceramic Society (OCS) has a name that invokes a bygone era, an age of colonial administrators and a Western penchant for chinoiserie.
But its new president insists that the name is the only thing that is old-fashioned about a London institution celebrating its centenary this year, as it continues its mission to widen the appreciation for, and to acquire knowledge about, Asian art.
In fact, Professor Stacey Pierson suggests that the OCS, its austere name notwithstanding, is far more accessible and diverse than, say, the 60-year-old Min Chiu Society of Chinese art collectors in Hong Kong, which remains out of bounds to dealers and has yet to admit a female collector.
“The Chinese art collecting milieu in Hong Kong can be a bit more intimidating and exclusive,” says Pierson, a reader in the history of Chinese ceramics at SOAS University of London who has previously given lectures in Hong Kong.

In contrast, the London OCS has a wide-ranging membership including students, dealers, museum curators and academics, she adds. (An OCS Hong Kong has been in existence since 1974 with a similar, open-to-all position, though it is not officially an affiliated entity.)
“We never had an exclusionary policy. I first joined as a student myself and I have always encouraged students to join. We have around 900 members today, including a lot of young Chinese collectors, older English members, a lot of Europeans and a very strong American chapter,” she says. “As a result, our activities are reflective of what is happening in research at universities and museums around the world.”
The OCS hasn’t always been such a cosmopolitan and vibrant society. It was founded in 1921 by Stephen Winkworth, a collector of Chinese ceramics, at his home in west London; its first members were a group of connoisseurs who are likely to have known each other through their connections to an influential antiques dealer at the time called Leonard Bluett, and from rubbing shoulders at the Burlington Fine Arts Club.
In the 1930s, the first women were appointed to the OCS’ governing council and in the decades that followed the society increased its engagement with scholars and collectors in China and elsewhere, Pierson says.
Collecting remains a central part of the society’s identity, as shown by its centenary exhibition of over 100 objects, some dating back 3,000 years, that are on loan from museums and OCS members from around the world.

The highlights include ancient ritual bronzes, celadon ware from the Song dynasty (960-1279AD) and exquisite blue-and-whites with emperors’ reign marks belonging to the British Museum and other institutions. There is one piece that is rather less mainstream: an 18th century Qing dynasty famille-rose punch bowl that Hong Kong lawyer Edwin Mok Wah-sing, a long-time OCS member, is taking with him on a flight to London to show at the exhibition.
Mok, who started collecting antiques as a law student in the UK, says the bowl features an outdoor wedding procession – a quintessential scene in Qing dynasty China. The groom is being transported in a sedan chair, accompanied by attendants carrying lanterns and banners, with a group of musicians announcing their arrival at the bride’s home in front.
There are some oddly irregular features, however, such as the very Western-looking towers in the background. And it is a punch bowl – not something you’d find used very often in China.
“This is an example of export wares made for the Western market,” says Mok. “Many people don’t like to collect them because they do not expect them to be as good as Imperial wares, but that is not true.” He likes the fact that the bowl includes both Chinese motifs and traditional patterns, such as the spearheads lining its foot, but is also evidence that globalisation and cross-cultural exchanges are part of our heritage.
“I feel that these export wares should not be spurned. I have pieces in my collection that date back to the Tang dynasty (618-907AD). They are our culture and our history, too,” he says.
A constant refrain among older dealers and collectors in Hong Kong is that these days young people simply are not interested in Chinese antiques, with contemporary art, and lately NFTs, tending to steal the limelight in the art market. The picture looks rather different in London, Pierson insists.
“There is no sense of the OCS ageing. I think there is a great development of interest in the Asian art market, so we have a lot of young people joining from auction houses, as well as universities, and people who know us through our global outreach programmes. We believe there is a strong future for the society,” she says.
“Collectors, Curators, Connoisseurs: 100 Years of The Oriental Ceramic Society”, Brunei Gallery, SOAS University of London, 10 Thornhaugh Street, Russell Square, London. Oct 15 – Dec 11, 2021.


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Ceramics

An underglaze blue porcelain moon flask, from the Qing dynasty’s Yongzheng period (1723-1735), part of the collection of Winchester College and featured in an exhibition to celebrate the centenary of the Oriental Ceramics Society.

An earthenware tomb figure of a roaring lion with green splash-glaze from China’s Tang dynasty, about 700-750AD, part of the British Museum collection, featured in an exhibition to celebrate the centenary of the Oriental Ceramics Society.

A large famille-rose punch bowl made for export during the reign of Emperor Qianlong of the Qing dynasty, part of the Edrina Collection in Hong Kong, featured in the exhibition to celebrate the centenary of the Oriental Ceramics Society.

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The Shadow of Murgha Punishment (Corporal Punishment Series) by Fahim Rao. Limited edition NFTs of the 2021 work will be presented by the Sovereign Art Foundation during the Impact NFT Exhibition. Photo: Fahim Rao/Shaarbek Amankul

Hysteresis (2021), by Ophelia Jacarini, is a collection of 3D virtual sculptures made by the former ballerina that will be sold as NFTs to benefit annual Hong Kong charity appeal Operation Santa Claus, which the Post co-organises. Photo: Ophelia Jacarini

Lenin Stands, Lenin Fell Down, by Shaarbek Amankul. Limited edition NFTs of the 2021 work will be presented by the Sovereign Art Foundation during the Impact NFT Exhibition. Photo: ImpactNFT/Shaarbek Amankul

How Chinese porcelain went global: Hong Kong exhibition full of rare pieces puts creative spin on an old paradigm

An exhibition of Chinese trade porcelains match exhibits, such as this 18th century / Qing dynasty blue-and-white dinner set, with the appearance of Chinese porcelain in western paintings. (Collection of CUHK Art Museum.)The painting reproduced here is George Dunlop Leslie’s Tea (1885). 27SEP21SCMP / Enid Tsui

This 18th-century cup and saucer set, part of the CUHK art museum exhibition, was first made in China without decoration and then fired with overglaze painting in the Netherlands. Both the cup and saucer depict the crucifixion of Jesus Christ. Photo: Enid Tsui

The exhibition matches exhibits, such as this Qing dynasty blue-and-white dinner set, with the appearance of similar Chinese porcelain in Western paintings, in this case George Dunlop Leslie’s Tea (1885). Photo: Enid Tsui

This 16th-century vase was one of a series of vases made in China’s Jingdezhen kilns for a well-known Portuguese merchant. Photo: Enid Tsui

A punch bowl with figures from the Chinese dramatic work Romance of the Western Chamber in overglaze wucai enamel, dated to the reign of the Qing dynasty emperor Kangxi (1662-1722). Photo: Enid Tsui

A potted history of the Chinese porcelain industry, when personalised plates were plentiful

A dinner plate, circa 1796-1810, made in China for the American market. Photo: Alamy

This image shows a craftsperson painting porcelain items, at Yuet Tung China Works, Hand Painted Porcelain, managed by Tso Chi-hung, on August 01, 2016 at 15 Wang Hoi Road, Kowloon Bay, Hong Kong. 01AUG16 [BEST KEPT SECRET FEATURES] SCMP / Antony DICKSON

BBPTYH DELFTWARE, PORTRAIT OF VINCENT VAN GOGH, GALLERIA D'ARTE RINASCIMENTO, AMSTERDAM, NETHERLANDS

Lifestyle

Arts


As the Oriental Ceramic Society, UK-based but globally oriented, celebrates its centenary, president notes ‘great development of interest in Asian art market’
She credits OCS’ appeal to not being exclusionary, unlike the ‘intimidating’ Chinese art collecting milieu in Hong Kong where young aren’t drawn to antiques



‘We have a lot of young people joining,’ says president of Oriental Ceramic Society ahead of its centenary exhibition in London – a contrast to Hong Kong, where dealers and collectors lament lack of youth interest.


Chinese history

Chinese culture