One of the most favorite subjects for the craftsman in porcelain
and earthenware has been toy dogs in particular. In Chinese work
it has been hard to distinguish between the lion and the dog.
The lion-dog and the dog-lion share a lot of Chinese myth. The
dogs of Fo during the reign of K’ang Hsi were dogs, however, and
not lions. In the city of Peking in 1680 the Emperor K’ang
set up an imperial kiln. At that time it was possible there were
a million people working porcelain at 3,000 kilns. This
production situation has never been matched.
Above: Guardian Lion, but notice the resemblance to the "dog"
Dogs of Fo, also sometimes called guardian lions, are found
frequently, generally in pairs and usually with the male playing
with the traditional woven ball and the female with one of her
cubs.
Above: Japanese Guardian Lion Dogs
Dogs of Fo were made in huge quantities between the years
of 1662 and 1722. They were without doubt small dogs of the
Pekingese type.
Above: Among the Mexica (Aztecs) of highland Mexico, dogs were associated with the deity Xolotl, the god of death
It has often been said that it is very doubtful
the Chinese ever saw a real lion during this time they referred
to these animals as being lion-like, and that it is much more
likely the Dogs of Fo, even though they had somewhat of a lion
look, they were actually dogs and not lions. The Shih Tzu was part of it all.
Pugs in pottery are seen even more frequently than the Pekingese
type of the Dogs of Fo. A pottery artist named Kaendler, who
created works at the Meissen factory used Pugs often.
In the eighteenth-century Staffordshire potters began to produce
models of Pugs. Their early efforts were not all that nice as
representations of the pugs. These pieces of pottery are
becoming more and more valuable; however, they do not look like
the typical specimen of the Pug. They are pot-bellied, long in
the leg and have peculiar expressions.
The French sculptor, Francois Roubiliac, created a piece that
looked much more like the Pug. The head looks like a Pug. The
tail may not be just right and the legs are still rather long,
but this was quite an improvement from what had been created
earlier. It could also be that the models of Pugs did have
longer legs.
Sculptors are still creating Pugs today and as time goes on, the
pieces continue to look more and more like a real Pug.
One of the most interesting little dogs portrayed in porcelain
was the dog of Madame de Pompadour, produced in Vincennes around
1750. It is felt that this piece is almost certainly a Maltese.
The little Maltese is now a rare collector’s piece. (below: Madame de Pompadour)
The toy spaniel is another breed of toy dog that has been a
favorite of the pottery modeler over the centuries. At one time
most all households had a representation in pottery of their pet
dog, or even a pair of dogs, sitting on their mantelpiece.
Above: Notice the Dog Pottery on top the Mantle piece in this home
Most of these were most likely toy spaniels, almost certainly
Cavalier King Charles spaniels. They were produced by the
thousands, but do have a great charm. The details of the face
were hand-painted and each one was slightly different. Younger
people did most of the color work on these pieces, which gave
the pieces an air of enjoyment and youth in keeping with the
whole character of toy dogs in general.
Above: Staffordshire Pottery Spaniels, Wally dogs
In the years of 1820 to 1850 the majority of these pieces was
sold at country fairs and was surprisingly high quality. By
early Victorian times almost all cottages had pottery figures
and the dog, which was so much a part of the life of country
people, it was just a natural choice to become a popular subject
for pottery makers. Many pottery makers made dogs, but it was
Staffordshire potteries that produced them by the thousands.
Almost every breed was modeled at some time or another and no two are
ever absolutely identical due to each potter and painter’s
slightly different style. They all did have some common
features. They were almost usually all white with spots and
patches of red or gold on ears and body. They usually had a
padlock hanging from the collar and a chain slung across the
brisket and over the back, most often in gold.
Above: Painting by James Tissot, Young Lady in a Boat with her Pug
What do all these pottery and/or painting pieces of dogs in art tell us? They tell us
not so much about how the dogs looked at the time, but more that
toy dogs in particular, enjoyed a lot of popularity in the early
nineteenth century. Dogs, particularly the toy dogs, were as
much a family member then as they are now, and probably even
more now than then.
The pet and pet care industry is one of the
most lucrative businesses there is.
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and earthenware has been toy dogs in particular. In Chinese work
it has been hard to distinguish between the lion and the dog.
The lion-dog and the dog-lion share a lot of Chinese myth. The
dogs of Fo during the reign of K’ang Hsi were dogs, however, and
not lions. In the city of Peking in 1680 the Emperor K’ang
set up an imperial kiln. At that time it was possible there were
a million people working porcelain at 3,000 kilns. This
production situation has never been matched.
Above: Guardian Lion, but notice the resemblance to the "dog"
Dogs of Fo, also sometimes called guardian lions, are found
frequently, generally in pairs and usually with the male playing
with the traditional woven ball and the female with one of her
cubs.
Above: Japanese Guardian Lion Dogs
Dogs of Fo were made in huge quantities between the years
of 1662 and 1722. They were without doubt small dogs of the
Pekingese type.
Above: Among the Mexica (Aztecs) of highland Mexico, dogs were associated with the deity Xolotl, the god of death
It has often been said that it is very doubtful
the Chinese ever saw a real lion during this time they referred
to these animals as being lion-like, and that it is much more
likely the Dogs of Fo, even though they had somewhat of a lion
look, they were actually dogs and not lions. The Shih Tzu was part of it all.
Pugs in pottery are seen even more frequently than the Pekingese
type of the Dogs of Fo. A pottery artist named Kaendler, who
created works at the Meissen factory used Pugs often.
In the eighteenth-century Staffordshire potters began to produce
models of Pugs. Their early efforts were not all that nice as
representations of the pugs. These pieces of pottery are
becoming more and more valuable; however, they do not look like
the typical specimen of the Pug. They are pot-bellied, long in
the leg and have peculiar expressions.
The French sculptor, Francois Roubiliac, created a piece that
looked much more like the Pug. The head looks like a Pug. The
tail may not be just right and the legs are still rather long,
but this was quite an improvement from what had been created
earlier. It could also be that the models of Pugs did have
longer legs.
Sculptors are still creating Pugs today and as time goes on, the
pieces continue to look more and more like a real Pug.
One of the most interesting little dogs portrayed in porcelain
was the dog of Madame de Pompadour, produced in Vincennes around
1750. It is felt that this piece is almost certainly a Maltese.
The little Maltese is now a rare collector’s piece. (below: Madame de Pompadour)
The toy spaniel is another breed of toy dog that has been a
favorite of the pottery modeler over the centuries. At one time
most all households had a representation in pottery of their pet
dog, or even a pair of dogs, sitting on their mantelpiece.
Above: Notice the Dog Pottery on top the Mantle piece in this home
Most of these were most likely toy spaniels, almost certainly
Cavalier King Charles spaniels. They were produced by the
thousands, but do have a great charm. The details of the face
were hand-painted and each one was slightly different. Younger
people did most of the color work on these pieces, which gave
the pieces an air of enjoyment and youth in keeping with the
whole character of toy dogs in general.
Above: Staffordshire Pottery Spaniels, Wally dogs
In the years of 1820 to 1850 the majority of these pieces was
sold at country fairs and was surprisingly high quality. By
early Victorian times almost all cottages had pottery figures
and the dog, which was so much a part of the life of country
people, it was just a natural choice to become a popular subject
for pottery makers. Many pottery makers made dogs, but it was
Staffordshire potteries that produced them by the thousands.
Almost every breed was modeled at some time or another and no two are
ever absolutely identical due to each potter and painter’s
slightly different style. They all did have some common
features. They were almost usually all white with spots and
patches of red or gold on ears and body. They usually had a
padlock hanging from the collar and a chain slung across the
brisket and over the back, most often in gold.
Above: Painting by James Tissot, Young Lady in a Boat with her Pug
What do all these pottery and/or painting pieces of dogs in art tell us? They tell us
not so much about how the dogs looked at the time, but more that
toy dogs in particular, enjoyed a lot of popularity in the early
nineteenth century. Dogs, particularly the toy dogs, were as
much a family member then as they are now, and probably even
more now than then.
The pet and pet care industry is one of the
most lucrative businesses there is.
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