The Silver Age

Origins and Trade of Chinese Export Silver

The city of Quang Chew Fu or CantonHong Kong Maritime Museum

I) A Silver Economy: Global Maritime Trade

Silver as a form of payment has historically been linked to trades across the regions and beyond the oceans. As maritime trade routes expanded, silver coins circulated throughout Europe to the Mediterranean Sea regions that established silver's significant role for trading. (Hong Kong Maritime Museum Collection)

Mexican 'Eagle' dollar, 90.3% silver, Casa de Moneda de Mexico, 1888, From the collection of: Hong Kong Maritime Museum
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The advent of the European Age of Voyages meant the beginning of global maritime trade. In particular, silver coins minted in Spain and Mexico widely spread all over the world and established a system of internationally accepted currency. (Hong Kong Maritime Museum Collection)

Silver ingot from Song Dynasty, From the collection of: Hong Kong Maritime Museum
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In China, silver bullions excavated from the shipwrecks of the Tang (618-907) and Song (960-1279) dynasties have proven that silver played an important role as currency in common use in China and Southeast Asia, and have demonstrated the prosperity of ancient maritime trade. (Courtesy of Guangdong Museum)

View of Port Acapulco, engraving, 29.6 x 36 cm. Hong Kong Maritime Museum Collection (HKMM2008.0147.0002) (1671)Hong Kong Maritime Museum

I.II) Silver Currency: Travelling East

(Hong Kong Maritime Museum Collection)

Beginning in 1565, Spanish trading ships known as Manila galleons voyaged across the Pacific Ocean from Acapulco, Mexico, to Manila, Philippines, every year for trading.

(Hong Kong Maritime Museum Collection)

Exhibition View of "The Silver Age: Origins and Trade of Chinese Export Silver"Hong Kong Maritime Museum

As an advanced voyage vessel, the Manila galleon was made of wood and built by Chinese shipwrights hired by the Spanish in Manila, it had a typical payload of hundreds to one or two thousand tons.

(Exhibition View of The Silver Age: Origins and Trade for Chinese Export Silver at HKMM)

Major Global Trade Routes, 16th and 18th centuryHong Kong Maritime Museum

(Maps from Andre Gunder Frank, ReOrient: Global Economy in the Asian Age (Berkeley, Calif.: University of California Press, 1998) 65,148.)

World Silver Production and Flow, 16th an 18th centuryHong Kong Maritime Museum

(Maps from Andre Gunder Frank, ReOrient: Global Economy in the Asian Age (Berkeley, Calif.: University of California Press, 1998) 65,148.)

Cover Photo of Silver Mining and SmeltingHong Kong Maritime Museum

II) Silver Mountains: The Making of Chinese Silver 

Besides functioning as currency, silver had been a material commonly used for making artefacts, along with gold, throughout history because of such characteristics as white and bright colour, corrosion resistance, fire resistance, malleability and ease of splitting and working. ("Tiangong kaiwu", Song Yingxing)

Horse-shaped silver rhyton, c.5th century, 24x28cm. The Mengdiexuan CollectionHong Kong Maritime Museum

The variety of gold and silver wares mainly included food containers, wine vessels and other categories for daily use, with particular reference to the style and culture of Western regions and Persia. (Courtesy of the Mengdiexuan Collection)

Gilt silver belt plaques with figure pattern, Liao dynasty (916-1125), The Mengdiexuan Collection.Hong Kong Maritime Museum

Later Khitan, Jurchen, Mongolian, Manchu and other grassland nomads established a great demand for gold and silver wares, such as the common silver trappings, belts, headdresses and food containers, each with distinctive national characteristics. (Courtesy of The Mengdiexuan Collection)

Cover photo for sinking lead and forming silverHong Kong Maritime Museum

II.II) Mining and Smelting

The distribution of silver in China was extensive. Smelting raw material is the first and crucial step for all metal products. In the Ming Dynasty, Song Yingxing's "Tiangong kaiwu" (The Exploitation of the Works of Nature, the picture on the right) provides a detailed account of the process of smelting silver. ("Tiangong Kaiwu", Song Yingxing)

Silver hairpin in floral design, Qing dynasty (1664-1911), The Cheng Xun Tang Collection.Hong Kong Maritime Museum

The basic techniques of producing Chinese silver ware can be divided into the main categories of casting, repousse, gilding, chasing, filigree. punching, piercing and applique. (Courtesy of The Cheng Xun Tang Collection)

Archaistic silver wine ewer, Qing dynasty (1644-1911)Hong Kong Maritime Museum

Chinese silver ware was commonly decorated with the motifs and embellishments of beautiful and auspicious symbols in the Chinese tradition.
(Courtesy of Anthony J. Hardy Collection)

The ewer imitated the modelling of Chinese bronzes of the Shang and Zhou dynasties.(Courtesy of Anthony J. Hardy Collection)

Its body was decorated with animal mask and deformed spiral patterns, with a phoenix-shaped spout, revealing an interest of imitation of metal artefacts. (Courtesy of Anthony J. Hardy Collection)

Gilt silver filigree tea set, Early Qianglong. Courtesy of the Muwen Tang Collection.Hong Kong Maritime Museum

III) Export Silver: Cross-Cultural Encounters

Since the sixteenth century, European countries'strong desire for trade markets in East Asia and Southeast Asia stimulated the East-West cultural exchange.(Courtesy of the Muwen Tang Collection)

(left) gold-painted black lacquer slant-lid desk with figure in golden pattern; (right) gold-painted black lacquer Chinese Chippendale side chair with ladies in garden patternHong Kong Maritime Museum

Silks, porcelains and furniture, mainly produced by China and Japan, were shipped into Europe in the frequent maritime trade. (Hong Kong Maritime Museum Collection)

La Toilette, oil on canvas (1742) by Francois Boucher (1703-1770)Hong Kong Maritime Museum

III.I) Chinoiserie: A Fascination with the East 

There was a fashionable trend of chinoiserie in Europe during the seventeenth and eighteenth centuries.(©Photo SCALA, Florence, Courtesy of Museo Nacional Thyssen-Bornemisza) 

These chinoiserie imports were highly appreciated and pursued by the royalty and nobility.

(©Photo SCALA, Florence, Courtesy of Museo Nacional Thyssen-Bornemisza)

Toilet set of Catherine the Great consisting of 32 objects, China.1740-1750. Glass, mercury amalgam, paper, silver, filigree, parcel-gilt, wood, velvet, peacock and kingfisher feathers, mother-of-pearl and crystals.Hong Kong Maritime Museum

At the time, handicrafts made in Europe demonstrated certain "Oriental" elements such as Chinese flowers, figures and architecture seen particularly in the artistic styles of Baroque and Rococo.

(Photograph © The State Hermitage Museum. Photo by Vladimir Terebenin. Collection from the State Hermitage Museum, St. Petersburg)

(left) gilt silver jewellery box with repousse landscape pattern; (right) sawasa ware box with repousse landscape pattern and gilt insdieHong Kong Maritime Museum

Chinoiserie expressed Europeans' imagination and desires regarding Asian culture, and created a demand for the export of Chinese silver wares. (Courtesy of The K.L. Leung Collection of Export Art)

(Left) spill holder in Chinoiserie figure style; (right) silver tazza with woodcutter stemHong Kong Maritime Museum

In Europe, silver has always been regarded as a symbol of wealth and power. It traditionally was an indispensable treasure in high-profile events such as royal banquets. (Courtesy of Chris Hall Collection)

Abraham Heindricksz van Beyeren, Still Life, c.1640-1680, oil on canvasHong Kong Maritime Museum

Silk, porcelains and furniture, mainly produced by China and Japan, were shipped into Europe in the frequent maritime trade. (Courtesy of the Rijksmuseum, Amsterdam)

Courtesy of the Rijksmuseum, Amsterdam

Lacquer cabinets painted with golden floral and phoenix motifs,Hong Kong Maritime Museum

Courtesy of Dr. Yip Shing Yiu Collection.

Teapot, China, c.1680, silver. Courtesy of the Peabody Essex Museum, Salem, Ma. (E82766.AB)Hong Kong Maritime Museum

III.II) Export Silver: Sending Silver West 

The photo on the right shows one of the earliest export silver from China. (Courtesy of Peabody Essex Museum; Photograph by Mark Sexton and Jeffrey R. Dykes) 

Filigree silver rosewater sprinkler and dish with floral pattern, late 18th century.Hong Kong Maritime Museum

The term "Export Silver" refers to silver ware produced specifically for export by Asian silversmiths, catering to foreign tastes and demand. (Courtesy of the K.L Leung Collection of Export Art)

Gilt silver filigree cigarette case, 19th century, 12.5 x 5.5 cm. Dr. Yip Shing Yiu CollectionHong Kong Maritime Museum

The rapid development of ocean shipping and maritime trade was a necessary condition for export silver, which spread overseas through foreign trade and became fashionable daily commodities and collectable items for European aristocrats. (Courtesy of Dr. Yip Shing Yiu Collection)

(Close up) gilt silver filigree cigarette case, 19th century, 12.5 x 5.5 cm. Dr. Yip Shing Yiu Collection.Hong Kong Maritime Museum

Courtesy of Dr. Yip Shing Yiu Collection

(upper) gilt silver filigree brise fan with enamelled landscape design; (lower) gilt silver brise fan with bird and flower designHong Kong Maritime Museum

The history of Chinese export silver began in the Kangxi era, and flourished from the Qianlong to Daoguang reigns, and continuously developed in the late Qing and Republican period.(Courtesy of the Muwen Tang Collection)

(left) gilt silver filigree bracelet with pearls inlay; (right) gilt silver filigree bracelet with dragon motifs and pearls inlayHong Kong Maritime Museum

Commonly seen product categories including tea sets, baskets, caskets, jewelries and toiletry sets, reflecting women's role as patrons and consumers of export silver. (Courtesy of the Cheng Xun Tang Collection and the K.L Leung Collection of Export Art)

(Partial) map of the Pearl River Delta, published by Henry Colburn (1784-1855), 13 Great Marlborough StreetHong Kong Maritime Museum

IV) Silver Workshops in Treaty Ports 

This map demonstrates the appearance of Canton, Macao and Hong Kong during the First Opium War (1840-1842). (Courtesy of Gordian Gaeta Collection, long-term loan of HKMM)

The Alexander Hume Scroll Painting of Foreign Factories in Canton (1772) by UHong Kong Maritime Museum

IV.I) Single Port Trade: The Thirteen Hongs of Canton

Since 1757, Canton was the monopolistic port for trading with foreigners. The production and consumption of export silver were concentrated along Tongwen Street,Jingyuan Street and Henan Club Street in the Canton Thirteen Hongs. (Hong Kong Maritime Museum Collection)

Tea service with repousse panels of dragon, bamboo and figures in garden desgin, KC, Canton, late 19th century, Courtesy of the Muwen Tang Collection.Hong Kong Maritime Museum

Owing to the excellent workmanship of Chinese silver and its price- far lower than that of European and American silver- it gradually attracted foreign merchants'and ship captains'attention. Silver was ordered either for their own use, or for their relatives and friends as souvenirs. (Courtesy of the Muwen Tang Collection)

Silver lozenge tray with pierced dragon and bamboo design, Canton, 19th century, 34 x 23.5 cm. Dr. Yip Shing Yiu CollectionHong Kong Maritime Museum

Export silver commonly made in Canton included tableware, tea sets, goblets, mugs and snuff boxes. (Courtesy of Dr. Yip Shing Yiu Collection)

Standing cup with repousse figures in landscape design and stand of pine tree and crane form,Hong Kong Maritime Museum

Foreigners' recreations at the treaty port created further demand for export silver. (Courtesy of the Muwen Tang Collection)

The Canton Regatta Club, established in 1837, for example, regularly held rowing and sailing races, the prize being a silver trophy. (Courtesy of the Muwen Tang Collection)

Silver fruit basket with grape motifs, Canton, from Jiaqing to DaoguangHong Kong Maritime Museum

There were two major styles of export silver in the Canton Thirteen Hongs. The first one would be entirely following the prototypes of foreign silver ware. (Courtesy of the Muwen Tang Collection)

Silver basin with repousse figures in landscape design, Canton, Cutshing, early DaoguangHong Kong Maritime Museum

The second style would be blending Western-style forms and Asian embellishments together. It showed strong Chinese characteristics, inheriting figures, flowers, dragons and phoenix motifs from Chinese traditions. (Courtesy of the Muwen Tang Collection)

Silver tea set with repousse spiral strips of floral and dragon design.Hong Kong Maritime Museum

IV.II) Silver, Opium and the Five Treaty Ports

After the First Opium War (1840-1842), the coastal cities of Fuzhou, Xiamen, Ningbo and Shanghai were opened as treaty ports, while Hong Kong Island was ceded to Britain as a free port. (Made in Jiujiang; Courtesy of The Cheng Xun Tang Collection)

Silver oval tray with filigree butterfly and flower pattern, Lisheng, Chengdu, early 20th centuryHong Kong Maritime Museum

With the five ports beginning to trade, Canton's predominance of export silver came to the end. Silver workshops relocated to the neighboring cities, such as Hong Kong, Shanghai, Beijing, Tianjing and Chengdu. (Made in Chengdu; Courtesy of the Muwen Tang Collection)

Set of silver tea service with dragon motif (tea pot, sugar pot and milk mug), Shanghai, c.1920s. Dr. Yip Shing Yiu CollectionHong Kong Maritime Museum

Shanghai at the end of the nineteenth century was in contact with many facets of Western culture. People using export silver ware in Shanghai included some in society who had accepted Western knowledge, or Westernized Chinese who returned after studying overseas. (Made in Shanghai; Courtesy of Dr. Yip Shing Yiu Collection)

Wu Youru(c.1840-1894), Banqueting in the Yu Garden, 1880, ink and colour on paper, 64.7 x 64.5 cm. Courtesy of Shanghai History Museum.Hong Kong Maritime Museum

The painting realistically depicts the late Qing diplomat Liu Ruifeng giving a banquet in Yangshan Tang of Shanghai's Yu Garden for the younger brother (Prince of Prussia) of future German Kaiser Wilhelm II and a group of naval officers. It showcases a banquet gathering reflecting the meeting of China and the West. (Courtesy of Shanghai History Museum)

Silver wine bottles with pierced floral pattern, Beijing, early 20th century, height 25.5 cm. Courtesy of Guangdong Museum.Hong Kong Maritime Museum

Beijing, the capital of China, was where late Qing officials frequently made the courtesy of giving banquets to receive overseas guests. (Made in Beijing; Courtesy of Guangdong Museum)

Silver trophy with landscape pattern and lion knob, Tianjin, c.1910, 37.5 x 23.3 cm. Courtesy of Guangdong Museum.Hong Kong Maritime Museum

Made in Tianjin. Courtesy of Guangdong Museum.

Set of silver bamboo-shaped tea service, 1900-1910. Courtesy of Guangdong Museum.Hong Kong Maritime Museum

Made in Jiujiang. Courtesy of Guangdong Museum.

Silver clock with the scene of two dragons playing with a pearl and daisy pattern, Guangdong, 1880-1890, 30.2 x 30.8 x 13 cm. Courtesy of Guangdong MuseumHong Kong Maritime Museum

Made in Guangdong. Courtesy of Guangdong Museum.

Wang Hing silver trophy repousse with crane and orchid patterns, c. 1900, 25 x 17.3 x 60 cm. Courtesy of the Muwen Tang Collection.Hong Kong Maritime Museum

Made in Hong Kong. Courtesy of the Muwen Tang Collection.

Drawing of silver presentation baptismal cupHong Kong Maritime Museum

IV.III) Beliefs Across the Ocean

The maritime economic and cultural exchanges between China and the West were favorable for the spread of religious beliefs in different countries. Buddhism, Christianity, Catholicism, Islams and others have successively crossed the ocean, making China a country of religious diversity and creating demands for Chinese export silver instruments for religious purposes. (Courtesy of the Muwen Tang Collection)

Silver-gilt and gilt-metal circular trinket box with enameled pine tree and deer design,Hong Kong Maritime Museum

The dissemination of beliefs also relied on the geographical advantage of Hong Kong and the Pearl River Delta.
(Courtesy of the Muwen Tang Collection)

(From left to right)Hong Kong Maritime Museum

Charles Gutzlaff (1803-1851), a famous German missionary of the nineteenth century, devoted his entire life to missionary work, Bible translation, writings and political as well as diplomatic services. He was proficient in Chinese dialects, and he was hired by the East India Company as an interpreter in 1832 to conduct opium trade and missionary work. In 1834, he was employed as a translator by the British government. He once drafted and witnessed the signing of the "Treaty of Nanking". Later, he served as Chinese Secretary of the Hong Kong Governor Sir Henry Pottinger, specializing in local Chinese affairs.

(Hong Kong Maritime Museum Collection)

Silver statue of Maitreyabodhisattva, Qiutianbao, late 19th century, 11.2 x 12.2 x 8.2 cm. Courtesy of Guangdong Museum.Hong Kong Maritime Museum

The three regions of Canton, Hong Kong and Macao became a bridge for the transplantation and circulation of religious beliefs. (Courtesy of Guangdong Museum)

Silver pedestal dish in boat form, Zee Sung, Shanghai, early 20th century, 11.3 x 23 cm. Courtesy of the Muwen Tang Collection.Hong Kong Maritime Museum

Courtesy of the Muwen Tang Collection

Inside of Wah Loong and Cumwo Shop at 60 Queen's Road, Hong Kong, 1868 by John Thompson (1827-1921)Hong Kong Maritime Museum

V) From Canton to Hong Kong

At the beginning of its opening to the West, Hong Kong, with its unique geographical merits, rapidly developed and became an ideal site for relocations of export silver workshops, stores and silversmiths. Hong Kong, as a British colony with a mix of both Chinese and foreigners, plus the convenience of a free port, offered a huge market overseas trade and export silver. (Courtesy of the Peabody Essex Museum. Photography by Allison White)

Wang Hing draft of lobed rim silver bowl with envelope. Esme Parish Silver Collection.Hong Kong Maritime Museum

V.I) Relocation of Export Silver Stores

Courtesy of the Esme Parish Silver Collection. 

Photo of Wang Hing & Co. building and its interior space, c.1895Hong Kong Maritime Museum

Wang Hing silver repousse tea set, seven pieces including tray, first half of twentieth century, Courtesy of the Muwen Tang Collection.Hong Kong Maritime Museum