Kanon och materialitet : En komparativ analys av Tangdynastins Fat Lady och Mingdynastins blåvita porslin

This essay examines how Fat Lady sculptures from the Tang Dynasty and blue- and- white porcelain from the Ming Dynasty have been perceived within Western art historical canon. Fat Lady sculptures are primarily presented in relation to funeral culture and Tang- era beauty ideals rather than as independent art objects. Meanwhile, Ming Dynasty blue- and- white porcelain has played a more prominent role in art history, mainly due to its connection to global trade and technical innovation. Despite this, both artefacts have often been excluded rather than integrated into Western canon, whereas Ming landscape painting resembling European works, have been more accepted. The historical perception of these objects has been shaped by local and global artistic norms. Fat Lady sculptures, mainly used within China, have been regarded as grave goods rather than fine art, limiting their spread and status. Their role as beauty ideals contributed to their exoticization rather than canonization. In contrast, blue- and- white porcelain was seen as exclusive and innovative, becoming status symbol through export and chinoiserie.Material and craftmanship influenced their valuation; unglazed pottery was viewed as simpler and categorized as cultural artifacts, while Ming porcelain, made with high-quality clay and advanced firing techniques, achieved prestige. Ultimately, global artistic standards favoured blue-and-white porcelain, reinforcing its place in the canon while marginalizing Fat Lady sculptures.