Examples of Chinese ornament, Pl.59
A hand-painted replica of Owen Jones’s masterpiece Examples of Chinese ornament, Pl.59, meticulously crafted by professional artists to capture the true essence of the original. Each piece is created with museum-quality canvas and rare mineral pigments, carefully painted by experienced artists with delicate brushstrokes and rich, layered colors to perfectly recreate the texture of the original artwork. Unlike machine-printed reproductions, this hand-painted version brings the painting to life, infused with the artist’s emotions and skill in every stroke. Whether for personal collection or home decoration, it instantly elevates the artistic atmosphere of any space.
"Examples of Chinese Ornament, Pl.59" is a plate from the influential design book "The Grammar of Ornament" by Owen Jones, first published in 1856. Owen Jones was a British architect and designer known for his work in color theory and his contributions to the decorative arts. His book aimed to provide a comprehensive guide to ornamental design, drawing from a wide range of cultures and historical periods.
"The Grammar of Ornament" consists of 100 color plates, each showcasing a different style or tradition of ornamentation. Plate 59 specifically focuses on Chinese ornamentation, reflecting Jones's appreciation for the aesthetic principles and intricate designs found in Chinese art. The book was one of the first to present such a wide array of cultural designs in a systematic and comparative manner, making it a valuable resource for designers and artists of the time.
Jones's work was heavily influenced by his travels and his exposure to the Great Exhibition of 1851, where he encountered a vast array of international art and design. His interest in non-Western art was part of a broader 19th-century trend in Europe that saw increased fascination with the arts and crafts of Asia, the Middle East, and other regions. This interest was partly fueled by colonial expansion and increased global trade, which brought a greater awareness of diverse artistic traditions to European audiences.
In Plate 59, Jones presents a series of designs that exemplify the characteristics of Chinese ornamentation. These designs often include intricate patterns, floral motifs, and the use of vibrant colors. Chinese ornamentation is known for its symbolic meanings, with motifs often representing concepts such as prosperity, longevity, and harmony. The designs in Plate 59 would have been intended to capture these elements, showcasing the elegance and complexity of Chinese decorative arts.
Jones's approach to documenting these designs was both artistic and scholarly. He sought to understand the underlying principles of each style of ornamentation, believing that a true appreciation of design required knowledge of its cultural and historical context. His work emphasized the importance of studying and respecting the artistic traditions of other cultures, rather than merely imitating their surface elements.
"The Grammar of Ornament" had a significant impact on the field of design, influencing generations of architects, artists, and designers. It encouraged a more global perspective on art and design, highlighting the value of cross-cultural exchange and the richness of the world's artistic heritage. Plate 59, as part of this larger work, contributed to a greater appreciation of Chinese art and design in the West, helping to bridge cultural divides and inspire new creative possibilities.
Overall, "Examples of Chinese Ornament, Pl.59" serves as a testament to Owen Jones's vision of a world where the beauty and diversity of global design are celebrated and understood. His work remains a key reference in the study of ornamental art and continues to inspire those interested in the history and practice of design.
