Professor Stacey Pierson
- Department of History of Art and Archaeology Professor of the History of Chinese Ceramics China Institute Academic Staff Food Studies Centre Member
- Department of History of Art and Archaeology
- BA (Loyola Marymount), MA (SOAS), PG Dip(Ealing), DPhil (Sussex), FRSA, SFHEA
- Russell Square: College Buildings
- Email address
- Telephone number
- 020 7898 4441
- Support hours
- Wednesdays, 12:00pm–2:00pm
Dr Stacey Pierson is Professor of the History of Chinese Ceramics at SOAS, University of London. In addition to teaching and supervising research students in the School of Arts, she is President of the Oriental Ceramic Society (London) and series editor for the Routledge title Histories of Material Culture and Collecting, 1550-1950. Previously, from 1995 – 2007, she was Curator of the Percival David Foundation of Chinese art, also at the University of London, which housed the world-renowned David collection of Chinese ceramics. She has published widely on aspects of Chinese ceramics and the history of collecting and exhibitions, including Collectors, Collections and Museums: the Field of Chinese Ceramics in Britain: 1560-1960 (2007), Chinese Ceramics: a Design History (2009), From Object to Concept: Global Consumption and the Transformation of Ming Porcelain (2013), Private Collecting, Exhibitions and the Shaping of Art History in London: the Burlington Fine Arts Club, 1866-1950 (2017) and the edited volume Visual, Material and Textual Cultures of Food and Drink in China, 200 BCE – 1900 CE, Colloquies on Art and Archaeology in Asia, no. 25 (2022). Her most recent research project focused on Dr Johnson’s Chinese teapot, which is on display in the British Museum.
The art history, archaeology and technology of Chinese ceramics, including export wares; the movement of Chinese ceramics and its impacts; the history of collecting Asian art and its display in Britain.
|Re-imagining the 1323 Buddhist Literary Banquet: Sensoria of Painted silks, Gift-giving and Foodways at the Mongol mid-Yuan court
|Ms Arjmand Aziz Ahmad
|Exhibiting Australian Aboriginal Contemporary art in Britain: the case of two galleries in London
|From Natural History to Wayang: The Collections and Collecting Practices of Thomas Stamford Raffles
|Collecting Chinese Art in Hong Kong during the 20th Century: Appropriation and Location
|The Origin, Development and Classification of Trompe L’oeil Porcelain in High Qing China
|Ms Ai Fukunaga
|A Different Type of Tea? British Collecting of Ceramics for Tea gatherings from Meiji Japan: the British Museum and Maidstone Museum Collections
|Collecting in Public and Private: The Ionides Collection of Chinese Export Porcelain, 1920-1970
|Portraits of Objects: Emperor Yongzheng's 'Guwan tu' and the Agency of Artefacts across Media
|Dr Lesley S Pullen
|An investigation into the meaning and significance of the exhibitions of Chinese art at the Whitechapel Art Gallery between 1901 and 1934
|13th - 14th Century Yuan and Mongol Silk-Gold Textiles: Transcultural consumption and reception in the Mongol Empire and in Europe
|Saw Tun Lin
|The significance of glazed ceramics in the economic life and trade networks of the Buddhist kingdoms of Myanmar in the 14th to 18th century
|Reassessing Chinoiserie: ornamental, didactic, or admonitory? Wilderness and the Regimes of Botany and Zoology in an eighteenth-century Sabaudian room ‘alla foggia chinese’.
|Yuet Heng (Janet) Wong
|The Public Disseminations of Chao Shao-an (1905-1998)’s Art and the Construction of Geographical Identities among Cantonese communities across Asia-Pacific, c. 1950s-2010s.