|||GET||| Chinas Porcelain Capital the Rise, Fall and Reinvention Of

Total Page:16

File Type:pdf, Size:1020Kb

|||GET||| Chinas Porcelain Capital the Rise, Fall and Reinvention Of CHINAS PORCELAIN CAPITAL THE RISE, FALL AND REINVENTION OF CERAMICS IN JINGDEZHEN 1ST EDITION DOWNLOAD FREE Maris Boyd Gillette | 9781474259415 | | | | | Jingdezhen porcelain Korean porcelain. By the 14th century it had become the largest centre of production of Chinese porcelain, which it has remained, increasing its dominance in subsequent centuries. Following the Xinhai Revolution of manufacture of porcelain for the imperial household ceased. Jingdezhen may have produced pottery as early as the sixth century CE, though it is named after the reign name of Emperor Zhenzongin whose reign it became a major kiln site, around One disgraced official, whose goods were seized inhad his valuable items confiscated, but not his collection of 45, pieces of porcelain, which were sold with his other effects. Decline and disarray, - 4. Definitely worth a read for those interested in porcelain history, centers and cities that are often known for a specific industry or craft, or even those interested in a focused slice of Chinese history. Additional Product Features Dewey Edition. The dozens of non-imperial kilns are known as "private", with a few "official old kilns" making very high-quality wares for the Chinese nobility, which were "often as fine in quality as the imperial pieces and had the added attraction of more adventurous decoration since court styles were prescribed and rather formal"; [48] at times these may have helped the imperial kilns with large orders. It has produced a great variety of pottery and porcelain, for the Chinese market and as Chinese export porcelainbut its best-known high quality porcelain wares have been successively Qingbai ware in the Song and Yuan dynasties, blue and white porcelain from the s, and the " famille rose " and other "famille" colours under the Qing dynasty. A recently excavated Ming princely burial has yielded the first example to survive until modern times of a type of gaiwan set known from 15th-century paintings. There was also development of subtle, varied and mottled glazes for monochrome pieces. Hardcover Mary Stewart. Jorge Welsh Books Chinas Porcelain Capital The Rise, p. The final version of these, fromspecified that the Empress Dowager Cixi was allowed pieces Fall and Reinvention of Ceramics in Jingdezhen 1st edition yellow porcelain, while the Empress had 1, PDF eBook Watermarked. Under the Yuan dynasty, Jingdezhen's finest whitewares changed to Shufu ware, named after the two character inscription on some pieces. Stock photo. The emperor was a keen art collector and probably personally directed the trends in this period for imitating shapes from ancient metalware, especially ritual bronzesin porcelain, as well as imitations of wood and other materials. Qingbai glazed lamp, Jingdezhen ware, — The world's most famous ceramics and the people who made them 2. In this fascinating book, Maris Gillette got her feet muddy to tell the year story of how the Chinese state, global markets and the potters of Jingdezhen have interacted to produce the most extraordinary porcelains in the world. Bill o'Reilly's Killing Ser. In this fascinating book, Rebecca Barden got her feet muddy to tell the year story of how the Chinese state, global markets and the potters of Jingdezhen have interacted to produce the most extraordinary porcelains in the world. Continue on UK site. The Mongol Yuan dynasty established a body, the "Fuliang Porcelain Bureau" to regulate production, and the next Ming dynasty established official kilns to produce porcelain for the emperor; Jingdezhen continued to produce Imperial porcelain until the end of Imperial rule. Hardcover Mary Stewart. In this reign enamel or overglaze decoration was developed, which was to dominate the finer wares in future centuries. Chinas Porcelain Capital The Rise the next two reigns the quality also declined, and orders from the palace were reduced, until the official kilns were destroyed in the Taiping Rebellion in the s. Getting to know the ceramists who work there, Gillette ensures that this tome makes an arresting read. Proto- celadon Terracotta Chinas Porcelain Capital The Rise Green-glazed pottery. Save on Nonfiction Trending price is based on prices over last 90 days. The Ming Fall and Reinvention of Ceramics in Jingdezhen 1st edition is normally dated as beginning inbut there was a long revolt against the Yuan dynasty, and Jingdezhen was lost by them in Best Selling in Nonfiction See all. China's Porcelain Capital The colour on the fired pots was a grey-blue rather than a pure blue. It is well sourced and benefits greatly from research in the town and familiarity at first hand with the practical aspects of the industry. Wares were placed inside stacked saggars on a floor of quartz sand; as the saggars protected Chinas Porcelain Capital The Rise contents from direct flame both fuel and air could be introduced directly to the interior through vents, allowing temperature regulation throughout the kiln. Dual track porcelain, - 6. History Politics Economy. Amanda is currently reading it Jun 30, Svenska ostindiska compagnierna — kryddor, te, porslin, siden [ The Swedish East India company — spice, Chinas Porcelain Capital The Rise, porcelain, silk ] in Swedish 2 ed. Buy It Now. Namespaces Article Talk. The world's most famous ceramics and the people who made them 2. Also known as a climbing kiln, this type in its final development consisted of a tunnel-like flue built up a slope from a main firebox. Lobed dish with flowers, Qianlong emperor, porcelain with overglaze enamel. The imperial court, except during periods of crisis, generated a huge demand for porcelain. The hottest part of the kiln next to the firebox was used for crackle glazes; following inwards high-fired green and red glazes in a reducing atmosphere, then uncoloured, blue-glazed, and decorated ware at a moderate temperature, followed at the back by glazes to be fired Chinas Porcelain Capital The Rise a lower temperature and turquoise-glazed ware in an oxidising atmosphere. Yuan dynasty dish with a white dragon and pearl design on a monochrome blue background. Following the Xinhai Revolution of manufacture of porcelain for the imperial household ceased. Wikimedia Commons. Friend Reviews. China's Porcelain Capital is a valuable book for scholars and non-specialists of ceramics, Asian art, and Chinese ethnology, and it is bound to inspire further future studies of other fields and comparative global history. In a European visitor reported that most production was in a short summer season, when workers from surrounding areas came to live in "barrack-like sheds" in the city, without their families. The cobalt was ground and mixed with a medium, then painted onto the dried bodies of the pots, which were then glazed and fired. These were the last major technical innovations at Jingdezhen, along with a technique for firing gold onto porcelain, rather than mercury gilding completed pieces. Apr 04, Jenna rated it really liked it Shelves: porcelain. Lobed dish with flowers, Qianlong emperor, porcelain with overglaze enamel. Along the sides of the kiln subsidiary entrances for side-stoking enabled the whole structure to be heated, and allowing the later dragon kilns to exceed 50 metres in length without any substantial drop in temperature. In a single order from the palace was forpieces of porcelain, all with dragon and phoenix designs. Help Learn to edit Community portal Recent changes Upload file. Brand new: Lowest price The lowest-priced brand-new, unused, unopened, undamaged item in its original packaging where packaging is applicable. Visit the Australia site. Lists with This Book. Court artists were by now supplying drawn or woodblock printed designs from the capital. Rine Karr marked it as to- read Jun 11, Maris Boyd Gillette's groundbreaking study tells the story of Jingdezhen, China's porcelain capital, from its origins in in Song dynasty China to the present day. No ratings or reviews yet No ratings or reviews yet. Sang de boeuf glaze was a copper oxide red, as was peachbloom glaze, which was Chinas Porcelain Capital The Rise blown onto the piece as powder. It also has a river leading to river systems flowing north and south, facilitating transport of fragile wares. A Qingbai porcelain bottle from Jingdezhen is the earliest piece of Chinese porcelain Fall and Reinvention of Ceramics in Jingdezhen 1st edition to have reached Europe; this is the Fonthill Vasewhich was brought to Europe in the middle of the 14th century. Packaging should be the same as what is found in a retail store, unless the item is handmade or was packaged by the manufacturer in non-retail packaging, such as an unprinted box or plastic bag. Yuan Qingbai ware vase, 13th—14th century. Error rating book. Under the Yongle Emperor r. Definitely worth a read for those interested in porcelain history, centers and cities that are often known for a specific industry or craft, or even those interested in a focused slice of Chinese history. There was also development of subtle, varied and mottled glazes for monochrome pieces. Hardcover Mary Berry. Maris Gillette. Dish with underglaze blue design of two lions with a further four lions in the cavettomid 15th century. In this fascinating book, Rebecca Barden got her feet muddy to tell the year story of how Chinas Porcelain Capital The Rise Chinese state, global markets and the potters of Jingdezhen have interacted to produce the most extraordinary porcelains in the world. Teri Frame marked it as to-read Aug 10, This influx took the population of the city to about , and caused some social problems. The final version of these, fromspecified that the Empress Dowager Cixi was allowed pieces of yellow porcelain, while the Empress had 1, China's Porcelain Capital: The Rise, Fall and Reinvention of Ceramics in Jingdezhen Read more A recently excavated Ming princely burial has yielded the first example to survive until modern times of a type of gaiwan set known from 15th-century paintings.
Recommended publications
  • Tracing the Origin of Blue and White Chinese Porcelain Ordered for the Portuguese Market During the Ming Dynasty Using INAA
    Journal of Archaeological Science 40 (2013) 3046e3057 Contents lists available at SciVerse ScienceDirect Journal of Archaeological Science journal homepage: http://www.elsevier.com/locate/jas Tracing the origin of blue and white Chinese Porcelain ordered for the Portuguese market during the Ming dynasty using INAA M. Isabel Dias a,*, M. Isabel Prudêncio a, M.A. Pinto De Matos b, A. Luisa Rodrigues a a Campus Tecnológico e Nuclear/Instituto Superior Técnico, Universidade Técnica de Lisboa, EN 10 (Km 139,7), 2686-953 Sacavém, Portugal b Museu Nacional do Azulejo, Rua da Madre de Deus no 4, 1900-312 Lisboa, Portugal article info abstract Article history: The existing documentary history of Chinese porcelain ordered for the Portuguese market (mainly Ming Received 21 March 2012 dynasty.) is reasonably advanced; nevertheless detailed laboratory analyses able to reveal new aspects Received in revised form like the number and/or diversity of producing centers involved in the trade with Portugal are lacking. 26 February 2013 In this work, the chemical characterization of porcelain fragments collected during recent archaeo- Accepted 3 March 2013 logical excavations from Portugal (Lisbon and Coimbra) was done for provenance issues: identification/ differentiation of Chinese porcelain kilns used. Chemical analysis was performed by instrumental Keywords: neutron activation analysis (INAA) using the Portuguese Research Reactor. Core samples were taken from Ancient Chinese porcelain for Portuguese market the ceramic body avoiding contamination form the surface layers constituents. The results obtained so INAA far point to: (1) the existence of three main chemical-based clusters; and (2) a general attribution of the Chemical composition porcelains studied to southern China kilns; (3) a few samples are specifically attributed to Jingdezhen Ming dynasty and Zhangzhou kiln sites.
    [Show full text]
  • Phase Evolution of Ancient and Historical Ceramics
    EMU Notes in Mineralogy, Vol. 20 (2019), Chapter 6, 233–281 The struggle between thermodynamics and kinetics: Phase evolution of ancient and historical ceramics 1 2 ROBERT B. HEIMANN and MARINO MAGGETTI 1Am Stadtpark 2A, D-02826 Go¨rlitz, Germany [email protected] 2University of Fribourg, Dept. of Geosciences, Earth Sciences, Chemin du Muse´e6, CH-1700 Fribourg, Switzerland [email protected] This contribution is dedicated to the memory of Professor Ursula Martius Franklin, a true pioneer of archaeometric research, who passed away at her home in Toronto on July 22, 2016, at the age of 94. Making ceramics by firing of clay is essentially a reversal of the natural weathering process of rocks. Millennia ago, potters invented simple pyrotechnologies to recombine the chemical compounds once separated by weathering in order to obtain what is more or less a rock-like product shaped and decorated according to need and preference. Whereas Nature reconsolidates clays by long-term diagenetic or metamorphic transformation processes, potters exploit a ‘short-cut’ of these processes that affects the state of equilibrium of the system being transformed thermally. This ‘short-cut’ is thought to be akin to the development of mineral-reaction textures resulting from disequilibria established during rapidly heated pyrometamorphic events (Grapes, 2006) involving contact aureoles or reactions with xenoliths. In contrast to most naturally consolidated clays, the solidified rock-like ceramic material inherits non-equilibrium and statistical states best described as ‘frozen-in’. The more or less high temperatures applied to clays during ceramic firing result in a distinct state of sintering that is dependent on the firing temperature, the duration of firing, the firing atmosphere, and the composition and grain-size distribution of the clay.
    [Show full text]
  • Views of a Porcelain 15
    THE INFLUENCE OF GLASS TECHNOLOGY vessels nor to ceramic figurines, but to beads made in imitation of imported glass.10 The original models were ON CHINESE CERAMICS eye-beads of a style produced at numerous sites around the Mediterranean, in Central Asia and also in southern Russia, and current in the Near East since about 1500 Nigel Wood BC.11 A few polychrome glass beads found their way to Research Laboratory for Archaeology and the History of Art, University of Oxford. China in the later Bronze Age, including one example excavated from a Spring and Autumn period (770-476 BC) site in Henan province.12 This particular blue and ONE OF THE MOST IMPORTANT AND ENDURING DIFFER- white eye bead was of a style current in the eastern ences between the ceramics of China and the Near East Mediterranean in the 6th to 3rd century BC and proved lies in the role that glass has played in the establishment to have been coloured by such sophisticated, but of their respective ceramic traditions. In the ceramics of typically Near Eastern, chromophores as calcium- Mesopotamia, Persia, Egypt, and Syria glass technology antimonate-white, cobalt-blue and a copper-turquoise, proved vital for the development of glazed ceramics. while its glass was of the soda-lime type, common in 13 Figure 2. Earthenware jar with weathered glazes. Warring States Following the appearance of glazed stone-based the ancient world. period. Probably 3rd century BC (height: 9.5 cm). The British ceramics in the fourth millennium BC, the first glazes These ‘western’ beads would have been wonders in Museum.
    [Show full text]
  • Ackland Ceramics Guide
    ! ! CERAMICS!GUIDE! Ceramics:"objects"formed"from"moistened"clay"and"hardened"by"firing;"distinguished"by" permeability"and"firing"temperatures" • Earthenware:"Porous,"low<firing" • Stoneware:"Non<porous,"high<firing" • Hard<Paste"Porcelain:"Non<porous,"high<firing" Single!firing:"clay"mixture"and"glaze"reach"maximum"density"and"hardness"in"a"single"firing,"with" the"glaze"being"applied"directly"to"the"unfired"clay"beforehand" Biscuit!firing:"glazed"objects"can"also"undergo"multiple"firings,"the"first"being"the"firing"of"the" unglazed"(biscuit)"object;"helps"stabilize"a"work"before"a"glaze"or"painted"decoration"is"applied" Glost!firing:"fuses"glaze"to"an"object"that"has"already"been"biscuit<fired" Glaze:!natural"materials"applied"to"a"clay"object"(either"as"a"powder"or"mixed"with"water)," fusing"with"the"clay"when"fired;"makes"porous"ceramics"impervious"to"liquid;"also"used"on"non< porous"ceramics"for"purely"decorative"effects,"either"as"transparent"coating"or"colored"by"the" addition"of"various"metal"oxides;"comprised"of"ground"silica,"which"melts"to"create"a"glassy" surface,"as"well"as"(1)"an"alumina"stabilizer"to"increase"viscosity"and"(2)"a"mineral"flux"to"lower" the"silica’s"melting"point." Common!glaze!types:"distinguished"by"flux"material" th • Lead:"low<firing,"used"on"earthenware;"largely"discontinued"by"the"late"19 "century"due" to"dangers"of"prolonged"lead"exposure" • Tin:"lead"glaze"with"the"addition"of"tin"oxide,"resulting"in"an"opaque"white"surface;" originates"in"Middle"East,"9th"century;"European"tin<glazed"earthenware"classified"by"
    [Show full text]
  • Two Day Sale of Fine Art and Antiques - Day 1 Friday 09 May 2014 10:00
    Two Day Sale of Fine Art and Antiques - Day 1 Friday 09 May 2014 10:00 Batemans Auctioneers The Saleroom Ryhall Road Stamford PE9 1XF Batemans Auctioneers (Two Day Sale of Fine Art and Antiques - Day 1) Catalogue - Downloaded from UKAuctioneers.com Lot: 1 Lot: 6 An 18th century glass flask, A Loetz style green glass bowl probably Venetian, with ribbon with a twin handled pewter trail and blue leaf decoration, mount, no 2577, impressed 17cm long. marks, 33 by 19 by 14cm. Estimate: £100.00 - £150.00 Estimate: £120.00 - £180.00 Lot: 2 Lot: 7 A group of Babbacombe pottery A German saltglaze stoneware vases, circa 1959, decorated with jug, 18th century, of Westerwald black bands and splashes of type, decorated with a crowned colour against a sea blue ground, 'GR' cypher within a between 9 and 24cm. (8) chequerboard band, within foliate Estimate: £80.00 - £120.00 scrolls, 16cm high. Estimate: £60.00 - £90.00 Lot: 3 Lot: 8 A quantity of Lladro porcelain A group of Belleek porcelain, figures, comprising a boy sitting third black mark, decorated in the on a bough with a book in his lap, 'Shamrock' pattern, comprising two nuns, girl with a piglet, girl butter tub, pair of oval salts and a trying on a bonnet, an angel and trio. (6) two kneeling children at prayer, Estimate: £40.00 - £60.00 together with a Nao figure of a lady holding a rabbit, a group of geese, and a Requena figure of a girl. (9) Estimate: £200.00 - £300.00 Lot: 9 A group of Victorian ale glasses, one etched 'Forget Me Not' and Lot: 4 another etched with a shield and A Wedgwood porcelain part tea sword, together with a hunting service decorated in the 'Kutani glass 'Just One Before We Start', Crane' pattern, comprising 12cm high.
    [Show full text]
  • China: Qing Dynasty Porcelain and Global Exchange Pre-Visit
    China: Qing Dynasty Porcelain and Global Exchange Pre-Visit Share this background information with students before your Distance Learning session. Grade Level: Grades 9-12 Collection: East Asian Art Culture/Region: China, East Asia Subject Area: History and Social Science Activity Type: Distance Learning WHY LOOK AT PLATES AND VASES? When visiting a relative or a fancy restaurant, perhaps you have dined on “fine china.” While today we appreciate porcelain dinnerware for the refinement it can add to an occasion, this conception is founded on centuries of exchange between Asian and Western markets. Chinese porcelain production has a long history of experimentation, innovation, and inspiration resulting in remarkably beautiful examples of form and imagery. At the VMFA, you will examine objects from a small portion of this history — the 18th century during the Qing Dynasty — to expand your understanding of global exchange in this era. Because they were made for trade outside of China, these objects are categorized as export porcelain by collectors and art historians. Review the background information below, and think of a few answers you want to look for when you visit VMFA. QING DYNASTY Emperors, Arts, and Trade Around the end of the 16th century, a Jurchin leader named Nurhaci (1559–1626) brought together various nomadic groups who became known as the Manchus. His forces quickly conquered the area of present-day Manchuria, and his heirs set their sights on China. In 1636 the Manchus chose the new name of Qing, meaning “pure,” to emphasize their intention to purify China by seizing power from the Ming dynasty.
    [Show full text]
  • Page 1 578 a Japanese Porcelain Polychrome Kendi, Kutani, 17Th C
    Ordre Designation Estimation Estimation basse haute 551 A Chinese mythological bronze group, 19/20th C. H: 28 cm 250 350 552 A Chinese bronze elongated bottle-shaped vase, Ming Dynasty H.: 31 600 1200 cm 553 A partial gilt seated bronze buddha, Yongzheng mark, 19th C. or earlier 800 1200 H: 39 cm L: 40 cm Condition: good. The gold paint somewhat worn. 554 A Chinese bronze jardiniere on wooden stand, 19/20th C. H.: 32 cm 300 600 555 A Chinese figural bronze incense burner, 17/18th C. H.: 29 cm 1000 1500 556 A Chinese bronze and cloisonne figure of an immortal, 18/19th C. H.: 31 300 600 cm 557 A Chinese bronze figure of an emperor on a throne, 18/19th C. H.: 30 cm 800 1200 Condition: missing a foot on the right bottom side. 558 A bronze figure of Samanthabadra, inlaid with semi-precious stones, 4000 8000 Ming Dynasty H: 28 cm 559 A Chinese gilt bronze seated buddha and a bronze Tara, 18/19th C. H.: 600 1200 14 cm (the tallest) 560 A Chinese bronze tripod incense burner with trigrams, 18/19th C. H.: 350 700 22,3 cm 561 A tall pair of Chinese bronze “Luduan� figures, 18/19th C. H.: 29 1200 1800 cm 562 A tall gilt bronze head of a Boddhisatva with semi-precious stones, Tibet, 1000 1500 17/18th C. H.: 33 cm 563 A dark bronze animal subject group, China, Ming Dynasty, 15-16th C. H.: 1500 2500 25,5 cm 564 A Chinese dragon censer in champlevé enameled bronze, 18/19th C.
    [Show full text]
  • ASIAN ART Monday 8 and Tuesday 9 May 2017 Knightsbridge, London
    ASIAN ART Monday 8 and Tuesday 9 May 2017 Knightsbridge, London INTERNATIONAL CHINESE CERAMICS AND WORKS OF ART TEAM Colin Sheaf Dessa Goddard Asaph Hyman ASIA AND AUSTRALIA Xibo Wang Gigi Yu John Chong Edward Wilkinson* Yvett Klein Hong Kong Hong Kong Hong Kong Hong Kong Sydney EUROPE Benedetta Mottino Sing Yan Choy Edward Luper Rachel Hyman Rosangela Assennato Ben Law Smith Ian Glennie Asha Edwards London, London, London, London, London, London, Edinburgh Edinburgh New Bond Street New Bond Street New Bond Street Knightsbridge Knightsbridge Knightsbridge USA Bruce MacLaren Nicholas Rice Ming Hua Harold Yeo Mark Rasmussen* Doris Jin Huang* New York New York New York New York New York New York Henry Kleinhenz Daniel Herskee Ling Shang San Francisco San Francisco San Francisco ASIA REPRESENTATIVES Summer Fang Bernadette Rankine Taipei Singapore Bonhams 1793 Limited Bonhams International Board Bonhams UK Ltd Directors Registered No. 4326560 Robert Brooks Co-Chairman, Colin Sheaf Chairman, Gordon McFarlan, Andrew McKenzie, Registered Office: Montpelier Galleries Malcolm Barber Co-Chairman, Harvey Cammell Deputy Chairman, Simon Mitchell, Jeff Muse, Mike Neill, Montpelier Street, London SW7 1HH Colin Sheaf Deputy Chairman, Antony Bennett, Matthew Bradbury, Charlie O’Brien, Giles Peppiatt, India Phillips, Matthew Girling CEO, Lucinda Bredin, Simon Cottle, Andrew Currie, Peter Rees, John Sandon, Tim Schofield, +44 (0) 20 7393 3900 Patrick Meade Group Vice Chairman, Paul Davidson, Jean Ghika, Veronique Scorer, James Stratton, Ralph Taylor, +44 (0) 20 7393 3905 fax Jon Baddeley, Rupert Banner, Geoffrey Davies, Charles Graham-Campbell, Matthew Haley, Charlie Thomas, David Williams, Jonathan Fairhurst, Asaph Hyman, James Knight, Richard Harvey, Robin Hereford, David Johnson, Michael Wynell-Mayow, Suzannah Yip.
    [Show full text]
  • Ceramics: the History, Materials, and Manipulative Techniques of the Craft
    Eastern Illinois University The Keep Plan B Papers Student Theses & Publications 1-1-1965 Ceramics: The History, Materials, and Manipulative Techniques of the Craft James W. Mizener Follow this and additional works at: https://thekeep.eiu.edu/plan_b Recommended Citation Mizener, James W., "Ceramics: The History, Materials, and Manipulative Techniques of the Craft" (1965). Plan B Papers. 447. https://thekeep.eiu.edu/plan_b/447 This Dissertation/Thesis is brought to you for free and open access by the Student Theses & Publications at The Keep. It has been accepted for inclusion in Plan B Papers by an authorized administrator of The Keep. For more information, please contact [email protected]. CERAMICS: THE HISTORY, MATERIALS, AND MANIPULATIVE TECHNIQUES OF THE CRAFT (TITLE) BY James W. Mizener PLAN B PAPER SUBMIITED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE MASTER OF SCIENCE IN EDUCATION AND PREPARED IN COURSE Industrial Arts 452, Recreational Crafts IN THE GRADUATE SCHOOL, EASTERN ILLINOIS UNIVERSITY, CHARLESTON, ILLINOIS 1965 YEAR I HEREBY RECOMMEND THIS PLAN B PAPER BE ACCEPTED AS FULFILLING THIS PART OF THE DEGREE, M.S. IN ED. TABLE OF CONTENTS CHAPTER PAGE INTRODUCTION . 1 I. HISTORY AND DEVELOPMENT • 3 Ancient People 3 Chinese Contributions . 8 Contemporary Application 10 Industry •••••• 10 Therapy •• 10 School 11 Recreation 11 II. CERAMIC CONSTRUCTION 13 Clay . 13 Classification of Clay 16 Earthenware • 16 Stoneware • 16 Porcelain •• 17 Tools and Equipment . 17 Methods and Techniques of Ceramic Construction 20 Wedging Clay • • • • • ••• 20 Hand-Built Modeling ••••••••••• 21 Free Form Modeling • • • • 21 Slab Building ••••••••• 23 Coil Building •••••••• 24 Casting Pottery From Molds •••• 25 Single and Multi-Piece Molds •• 26 Preparing the Slip • • • • • • • • • • 28 Casting .
    [Show full text]
  • How to Identify Old Chinese Porcelain
    mmmKimmmmmmKmi^:^ lOW-TO-IDENTIFY OLD -CHINESE - PORCELAIN - j?s> -ii-?.aaig3)g'ggg5y.jgafE>j*iAjeE5egasgsKgy3Si CORNELL UNIVERSITY LIBRARY THE WASON CHINESE COLLECTION DATE DUE 1*-^'" """"^*^ NK 4565!h69" "-ibrary 3 1924 023 569 514 The original of this book is in the Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924023569514 'a4^(A<-^^ %//3 HOW TO IDENTIFY OLD CHINESE PORCELAIN PLATE r WHITE PORCELAIN "BLANC-DE-CHINE" PAIR OF BOWLS of pierced fret-work divided by five circular panels or medallions of raised figures in relief, supposed 10 represent the Pa-Sien or eight Immortals and the God of Longevity. Height, if in. Diameter, sfin. SEAL in the form of a cube surmounted by the figure of a lion Height, i^in. INCENSE BURNER, eight sided and ornamented by moulding in relief with eight feet and four handles. The sides have three bands enclosing scrolls in ancient bronze designs. At each angle of the cover is a knob; it is ornamented with iris and prunus, and by pierced spaces. The stand has eight feet and a knob at each angle ; in the centre is a flower surrounded by detached impressed scrolls, round the outside are similar panels to those on the bowl. Height, 4|in. Diameter of stand, 6f in. THE FIGURE OF A CRAB on a lotus leaf, the stem of which terminales in a flower. Length, 6| in. From Sir PV. fraiik^s Collection at the BritisJi Museum. S3 HOW TO IDENTIFY OLD CHINESE PORCELAIN BY MRS.
    [Show full text]
  • American Ceramic Circle Fall Newsletter 2015 American Ceramic Circle Fall Newsletter 2015
    AMERICAN Ceramic Circle FALL NEWSLETTER 2015 AMERICAN Ceramic Circle FALL NEWSLETTER 2015 OFFICERS OF THE AMERICAN CERAMIC CIRCLE 2015 Donna Corbin CONTENTS Chairman The American Ceramic Circle (ACC) was founded in 1970 as a Anne Forschler-Tarrasch ACC TRIP TO MEXICO 5 non-profit educational organization committed to the study and President appreciation of ceramics. Its purpose is to promote scholarship Adrienne Spinozzi GRANT AWARDS 6 Vice President and research in the history, use, and preservation of ceramics of Margaret Zimmermann GRANTS AND SCHOLARSHIPS 7 Secretary all kinds, periods, and origins. The current active membership of approximately five hundred is composed of museum professionals, M. L. Coolidge PUBLICATIONS 8 Treasurer collectors, institutions, and a limited number of dealers in ceramics. Suzanne Findlen Hood CERAMIC NOTES AND RESEARCH 9 Member interest is focused on post-Medieval pottery and porcelain Administrator Anne Forschler-Tarrasch EXHIBITIONS 14 of Europe, Asian ceramics of all periods, and ceramics made, used, Symposium Chair or owned in North America. Elizabeth Williams MUSEUM INSTALLATIONS 27 Grants Chair The ACC is chartered in the State of Maine as a 501 (c) 3 Corporation and is governed by a volunteer Board of Trustees. Dorothy Cobb CONFERENCES, SYMPOSIA, AND LECTURES 30 Development Chair Amanda Lange ANNOUNCEMENTS 32 Journal Editor David Conradsen, Adrienne Spinozzi NEW ACQUISITIONS 33 Newsletter Editors Shirley Mueller PRIVATE COLLECTIONS 36 Book Award Chair Angelika Kuettner UPCOMING FAIRS AND AUCTIONS 38 Website Coordinator Barbara McRitchie Archivist Thank you for all your contributions to this edition of the Newsletter. Cover Image: One of a pair of sample plates, Dutch (Delft), ca.
    [Show full text]
  • 19-24 DEMAINE Joanna
    Overglaze: Challenging the Myths Johanna Demaine discusses the art and technique of overglazing HERE IS PROSE AND THERE IS POETRY. In pottery there “ seems to remain a possibility for providing both, some- Ttimes in the same object. Pottery can be about design or about art, and occasionally both. Pots succeed because they move the spirit, like art, or they exactly fill a requirement, like design. That one discipline can straddle both areas with dual emphasis is distinctive.” (Dormer: 1994, p.7) For reasons best known to ceramists themselves, the realm of overglaze has been neglected or, even at its extreme, derided as a valid means of expression/decoration for the craft/artist potter. In Margaret Ford. Ceramic. the past, as ceramists have been concerned with the approach fostered by the Overglaze enamel. Arts and Crafts Movement together with the Leach tradition. Yet I believe we have neglected the technique of overglaze decoration as a valid and enduring element of the whole ceramic process, despite it being an integral part of the character of Oriental and Islamic ceramics for the past 1000 years, through the marriage of form and surface. This ignorance or perhaps fear of the process has seen overglaze unceremoniously dumped into the area known as china or porcelain painting and all the angst which that conjures up. I feel that this unfortunate terminology has contributed to the view that overglaze is not relevant to clay workers. CeramicsTECHNICAL No. 21 2005 19 However, as with all things in today’s fast changing society, the parameters within which ceramics operate, are in a state of flux.
    [Show full text]