The Exploration of Sr Isotopic Analysis Applied to Chinese Glazes: Part Oneq
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Porcelain Cíqì 瓷 器
◀ POLO, Marco Comprehensive index starts in volume 5, page 2667. Porcelain Cíqì 瓷器 Porcelain was first made in China about 850ce . The essential ingredient is kaolin, a white clay that when fired at an extremely high temper- ature acquires a glassy surface. Porcelain wares were first exported to Europe during the twelfth century. By 1700 trade in Chinese porcelain was immense, with Ming dynasty wares, characterized by cobalt-blue-painted motifs, highly prized. orcelain is ceramic material made with kaolin, which is a fine, white clay. Porcelain wares were first made in China about 850ce during the Tang Ornately painted porcelain bowl. Potters of the dynasty (618– 907 ce). An Islamic traveler who had vis- Ming dynasty concentrated more on painted ited China in 851 saw clay vessels that resembled glass. design and less on form. Photo by Berkshire Evidence indicates that fine, white stoneware (pottery Publishing. made from high-firing clay other than kaolin) was made in China as early as 1400 bce, and potters appear to have been familiar with kaolin during the Han dynasty rather than gray or brown or rust colored) and high fusion (206 bce – 2 2 0 ce). But the forerunner of modern-day por- temperature (the high heat required to turn the ingredi- celain was not made until the Tang dynasty. Tang dynasty ents into porcelain). Chemically kaolin is made up of kao- porcelain is known as “hard-paste” or “true porcelain” and linite, quartz, feldspar, muscovite, and anastase. Kaolin was made by mixing kaolin, which is formed by the decay and petuntse are fused by firing in a kiln at 980º C, then of feldspar, a chief constituent of granite, with petuntse, dipped in glaze and refired at about 1,300º C. -
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, Department of Geosciences, Earth Sciences, Chemin du Muse´e 6, 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. -
SIN-YING HO Past Forward SIN-YING HO Past Forward
SIN-YING HO Past Forward SIN-YING HO Past Forward DENISE PATRY LEIDY professor at Queen’s College, City University of a clear glaze) in the mid-fourteenth century, began to A New York, Sin-ying Ho, whose work has been serve the Chinese court in the early fifteenth century, widely shown and collected, has developed one of and remains one of the primary centers of global the more unique voices in contemporary clay. Born porcelain production today. First used in China around in Hong Kong, she immigrated to Canada in 1992, the sixth century, porcelain, a combination of a clay initially to pursue a career in acting. After receiving a known as kaolin and the feldspathic rock petuntse that degree in ceramics from Sheridan College in Ontario fires at temperatures of 1200 to 1400 degrees Celsius, in 1995, Ho also earned a 1997 BFA in ceramics from was one of the great discoveries in global ceramic the Nova Scotia School of Art and Design in Halifax history. It was produced in Korea in the fifteenth cen- and a 2001 MFA from Louisiana State University in tury and Japan in the early seventeenth century, and it Baton Rouge. was finally created in the West in 1708 at Meissen in Germany. The reemergence of porcelain in studio, or Her training reflects the diversity of approaches to art, pottery in the 1970s and 1980s coincides with the ceramic-making in North America in the late twentieth ability of artists from around the world to live, work, century. While in Nova Scotia, Ho was introduced to and study in Jingdezhen. -
Technological Aspects of an Early 19Th C. English and French White Earthenware Assemblage from Bern (Switzerland)
Periodico di Mineralogia (2015), Special Issue, 84, 1, 139-168 DOI: 10.2451/2015PM0009 An International Journal of PERIODICO di MINERALOGIA MINERALOGY, CRYSTALLOGRAPHY, GEOCHEMISTRY, established in 1930 ORE DEPOSITS, PETROLOGY, VOLCANOLOGY and applied topics on Environment, Archaeometry and Cultural Heritage Technological aspects of an early 19th c. English and French white earthenware assemblage from Bern (Switzerland) Marino Maggetti1,*, Andreas Heege2 and Vincent Serneels1 1 Department of Geosciences, Geology, Ch. du Musée 6, CH-1700 Fribourg, Switzerland 2 Im Roetel 3, CH-6300 Zug, Switzerland * Corresponding author: [email protected] Abstract Ceramic material from the Brunngasshalde town-waste-dump of Berne, the capital of Switzerland (infilling 1787-1832) encompasses 1% white earthenwares with impressed stamps of English, French and Swiss manufactures. All stamped English (WEDGWOOD, n = 3) and French (CREIL, n = 2; NIDERVILLER n = 1) material was analyzed by XRF, XRD, SEM-BSE and SEM-EDS. The Wedgwood pottery is rich in coarse SiO2 grains, interpreted as crushed flint fragments, with abundant signs of a high temperature treatment. They lay in a finely grained siliceous-aluminous matrix, in one specimen together with grog. The Creil material is very similar, but lacks grog. The English white earthenware differs chemically from Creil in its SiO2, K2O and Ba. Both bodies must be classified as siliceous-aluminous white earthenware. The CaO-rich (17 wt%) Niderviller fragment pertains to the calcareous white earthenware group. A comparison with 19 already published calcareous bodies from Lorraine shows similarities (grains of crushed sand or quartz pebbles and lead frit in a siliceous aluminous matrix), but its chemical composition differs from the published analysis of an object stylistically attributed to Niderviller. -
Bulletin of the Royal Ontario Museum Of
O O — Curator o the East Asiatic De artment P OF E O H E R R . E. F RNALD f p SS , A. B . MT . HOLY OKE — Curator o the Greek and Rom an De artm ent P OF E O W f R R . GR AH AM p SS , M . A . Ac . PH D . H. U , J. Curator o the Modern Euro ean De artm ent—F S . T . SP END f p p G . LOV E Curator o the Near Eastern De artment- M W NEED . LER B . A f p ISS , . Curator o the Textile De art — m ent MRS . G BR ETT f p . THE MUSEUM BOARD LL Chairman R B FENNE ES . C . O ERT , Q , Q , - S G S U ES . LL. D . 1 st Vice Chairman I MUND AM EL, Q , , DR Universit o Western On tari . R o ONALD ALLEN, y f ’ F n Universit . KE uee s PRO ESSOR M . B BA R, Q y H ES . M G C C . ENRY BORDEN , Q , Q . , W H RK ES . CLA E, Q W HN N S . D S . D E O SO E L. L . MU OC . D ARD ] , Q , , W . ES . R . A LAIDLA , Q ON . THE RT H . H. H. A . D . Chancellor E VINCENT MASSEY, C , M , LL D C L of the University of Toronto COL . H . D Chairm an o the Universit B oar W E P ILLIPS, C B E , LL f y d of Governors TH S . LL Pr S I S E C . -
Eighteenth-Century Ceramics from Fort Michilimackinac
J- Fort Michilimackinac as it probably looked through the final years of British occupation, 1774-1781. Courtesy oj the Mackinac Island State Park Commission. Drawn by Victor Hogg. EIGHTEENTH-CENTURY CERAMICS FROM FORT MICHILIMACKINAC A Study in Historical Archeology SMITHSONIAN STUDIES IN HISTORY AND TECHNOLOGY NUMBER 4 Eighteenth-Century Ceramics From Fort Michilimackinac A STUDY IN HISTORICAL ARCHEOLOGY . .,.»rwrTTTTiH.mnrF'nTTmirt»^,— -r^TfTmnnfTTTtnffrrTTmnnmmmT: mimniIT.niiniMrimffi^ J. JEFFERSON MILLER II and LYLE M. STONE X / SMITHSONIAN INSTITUTION PRESS City of Washington 1970 For sale by the Superintendent of Documents, U.S. Government Printing Office Washington, D.C. 20402 - Price $3.25 Contents Page Foreword vii Acknowledgments ix Introduction 1 I. History of Fort Michilimackinac and the Present Program of Archeology and Reconstruction 7 II. Ceramics at Fort Michilimackinac 25 III. Interpretation of Historical Site Ceramics 95 Bibliography 102 Appendixes A. Sherd Frequencies Ill B. Related Material from the Fortress of Louisbourg, Cape Breton Island, Nova Scotia 115 C. Related Material from Two Mid-Eighteenth-Century Pennsylvania Sites Occupied by the English Army 119 D. Table of Ceramic Types from Other Eighteenth-Century North American Historical Sites 125 Index 127 Illustrations Page 1. Map of Mackinac Straits 9 2. Map of the upper Great Lakes 10 3. Anonymous map of Mackinac Straits, circa 1717 12 4. Map drawn by Lieutenant Perkins Magra, 1766 15 5. Map drawn by Lieutenant John Nordberg, 1769 16 6. Anonymous map of Fort Michilimackinac, about 1760-1770 17 7. Air view of Fort Michilimackinac, 1966 20 8. Reconstruction of French period row house, 1967 21 9. Michigan State University archeology students excavating in the area of the priest's house, 1966 22 10. -
The Exploration of Sr Isotopic Analysis Applied to Chinese Glazes: Part Oneq
Journal of Archaeological Science 50 (2014) 551e558 Contents lists available at ScienceDirect Journal of Archaeological Science journal homepage: http://www.elsevier.com/locate/jas The exploration of Sr isotopic analysis applied to Chinese glazes: part oneq Hongjiao Ma a, Julian Henderson a, *, Jane Evans b a Department of Archaeology, University of Nottingham, University Park, Nottingham NG7 2RD, UK b NERC Isotope Geosciences Laboratory, British Geological Survey, Keyworth, Nottingham NG12 5GG, UK article info abstract Article history: Ash glaze and limestone glaze are two major glaze types in southern Chinese ceramic technology. In this Received 4 March 2013 study strontium isotope compositions were determined in ash glaze samples from the Yue kiln dated to Received in revised form between the 10th and 12th centuries AD, limestone glaze samples from Jingdezhen dated to between the 26 July 2013 15th and 18th centuries AD and ceramic raw materials from Jingdezhen. The Sr isotopic characteristics of Accepted 12 August 2013 limestone glaze and ash glaze are completely different. The Sr isotope characteristics of limestone glaze is characterised by low Sr concentrations, large 87Sr/86Sr variation, and a two component mixing line. On Keywords: the other hand the strontium isotope characteristic of ash glaze samples is characterised by a consistent Chinese glaze 87 86 Raw materials Sr/ Sr signature and high Sr concentrations with a large variation. The different Sr isotope composi- fl Strontium isotopes tions for the two types of glazes are a re ection of the various raw materials involved in making them. TIMS The Sr isotopic composition has been altered by the refinement process that the raw material was subjected to. -
Korean Ceramics of the Joseon Dynasty (1392 – 1910) Robert D
Arts of Asia Lecture Series Fall 2013 The Culture and Arts of Korea and Early Japan Sponsored by The Society for Asian Art Korean Ceramics of the Joseon Dynasty (1392 – 1910) Robert D. Mowry, September 26, 2013 This illustrated slide lecture will introduce Korean ceramics of the Joseon (also spelled Chosŏn) dynasty (1392- 1910), placing those wares within the overall historical context of Korean ceramics and also pointing out characteristics and innovations that are uniquely Korean. It will begin with a look at buncheong (punch’ŏng) wares, the robust descendants of the famed celadons of the Goryeo (Koryŏ) period (918-1392), surveying the incised and inlaid pieces of the fifteenth century as well as the slip-painted ones of the sixteenth. It will then move on to the aristocratic porcelains, treating both those embellished with molded decoration and those emblazoned with designs in underglaze cobalt blue, copper red, and iron brown. In addition, the lecture will explore relationships between Joseon-period ceramics and paintings, just as it will also touch on relationships between Joseon-period ceramics and those of China’s Ming (1368-1644) and Qing (1644-1911) dynasties. Joseon Dynasty (also spelled Chosŏn Dynasty; 1392–1910) Capital at Seoul Buddhism pushed aside Neo-Confucianism adopted as the state philosophy Ceramics Buncheong ware (also spelled Pun-ch’ŏng ware) Stamped designs inlaid with white slip Designs incised and/or carved in a coating of white slip Designs painted in brown slip on a white slip ground Porcelain Plain porcelain Porcelain with decoration painted in underglaze cobalt blue Porcelain with decoration painted in underglaze copper red Porcelain with decoration painted in underglaze cobalt blue and copper red Porcelain with molded and openwork decoration Earthenware (도기 , 도자기 ; 陶器 = dogi, dojagi ; taoqi): Employing humble clays, earthenware is fired in the range of 800˚ to 900˚ Celsius. -
Ceramics Monthly Nov96 Cei11
November 1996 1 Ruth C. Butler............................................................................Editor Kim Nagorski............................................................ Assistant Editor Tess Galvin................................................................ Assistant Editor Lisa Politz................................................................ Editorial Assistant Randy Wax....................................................................... Art Director Mary R. Hopkins...............................................Circulation Manager Mary E. May........................................Assistant Circulation Manager Connie Belcher..................................................Advertising Manager Spencer L. Davis............................................. Publishing Consultant Mark Mecklenborg .............................................................. Publisher Editorial, Advertising and Circulation Offices 735 Ceramic Plac e Post Office Box 6102 Westerville, Ohio 43086-6102 Telephone: (614) 523-1660 Fax: (614) 891-8960 E-mail: [email protected] [email protected] [email protected] Ceramics Monthly (ISSN 0009-0328) is published monthly, except July and August, by the American Ceramic Society, 735 Ceramic Place, Westerville, Ohio 43086. Periodicals postage paid at Columbus, Ohio. Subscription Rates: One year $24, two years $44, three years $60. Add $ 10 per year for subscriptions outside the U.S.A. In Canada, add GST (registra tion number R123994618). Change of Address: -
Main | Other Chinese Web Sites
Main | Other Chinese Web Sites Chinese Cultural Studies: Chinese Arts Compiled from Compton's Living Encyclopedia on America Online (August 1995) THE VISUAL ARTS Chinese art, like Chinese literature, goes back many centuries. Early themes were developed from religious and supernatural beliefs or from the natural environment and landscape. One of the oldest and most basic forms of Chinese art is calligraphy, the painting of the Chinese characters with a brush. Calligraphy has developed as a pure art form with its own standards of excellence. Building on the tradition of calligraphy, Chinese painting developed a distinctive style that differs greatly from Western painting. It is more efficient in terms of brushstrokes and appears more abstract. Landscapes have always been a popular theme, and sometimes these appear bizarre to the Western eye. To the Chinese painter, they may represent a figurative view painted with a few swift strokes of the artist's brush. With their stress on simplicity and economy, Chinese calligraphy, painting, and poetry are closely related. In all of them, the artist seeks to express both inner harmony and harmony with the natural surroundings. Chinese poets and painters often have sought inspiration by withdrawing to isolated, mountainous areas, and these landscapes have become conventional themes of Chinese art. Similarly, Chinese architecture has traditionally aimed to convey harmony with society and nature. The magnificent life-size terra-cotta statues of men and horses, discovered in the early 1970s in the tomb of an emperor who died in 210 BC, provide some indication of the long history of Chinese sculpture. After the introduction of Buddhism into China, Buddhist subjects became dominant themes of the sculptor's art. -
The Science of Early British Porcelain
THE SCIENCE OF EARLY BRITISH PORCELAIN Ian C. Freestone Department of Scientific Research at the British Museum PORCELAIN, A TRANSLUCENT, WHITE CERAMIC, WAS first produced in China in the 6th century A.D..1 Europeans became aware of this exotic material through travellers such as Marco Polo, and early pieces of Chinese porcelain, known to have been imported into Europe, date from the 14th century.2 Porcelain was an exotic and luxurious material, which was highly valued for its sensuous qualities and at this time, pieces were owned by the richest and most powerful members of society, who placed it in mounts of precious metal for display. As trade with the East expanded, increasing quantities of porcelain were imported, and awareness of this desir- able material spread. By the 1700s, porcelain was associated with the fashionable pastimes of drinking tea, coffee and chocolate and was in great demand by the growing middle class. Large quantities were imported from the Far East into Europe and porcelain collecting became a mania in some circles. The production of porcelain was regarded as a potential source of great wealth to whoever could master its secrets. Chinese porcelain from the imperial factories of Jingdezhen,3 was made from a mixture of two raw materials: kaolin, a refractory white-firing clay, and petuntse, or porcelain stone, a rock composed of mica, feldspar and quartz. The alkalis of the porcelain stone had a strong fluxing effect so that, fired at temperatures in the range 1250-1300ºC, the porcelain body matured to a material that was largely glassy, with its strength and rigidity provided by a network of fibre-like crystals of the compound mullite. -
Böttger's Eureka! : New Insights Into the European Reinvention of Porcelain*
24 Bull. Hist. Chem., VOLUME 35, Number 1 (2010) BÖTTGER’S EUREKA! : NEW INSIGHTS INTO THE EUROPEAN REINVENTION OF PORCELAIN* Nicholas Zumbulyadis, Independent Scholar (Retired, Eastman Kodak Research Laboratories, Rochester, NY) Introduction puzzling to the people of the Middle Ages. They were probably white, definitely vitreous, (and hence, unlike The opening of Europe’s first porcelain manufactory in European pottery, nonporous) and translucent. By the Dresden, in January, 1710 represented the successful middle of the 15th century porcelain objects from the culmination of efforts to unlock the secret of Chinese Far East had found their way into Italian collections by porcelain, a quest that had gone on for at least 800 years. way of the Middle East, mostly through the exchange of By royal decree, on the 6th of June 1710 the manufactory diplomatic gifts. Later, during the 16th and 17th centuries, was moved from Dresden to the Albrechtsburg in the city when Portuguese and Dutch traders brought back large of Meißen. Developed initially as a medium of artistic quantities of porcelain from China, Europeans became expression, porcelain quickly became one of the most widely appreciative of porcelain’s unique resistance to widely used composite materials ever invented (1). The thermal shock. objective of the present paper is to fill in new details about the invention of European porcelain by examining the The problem of producing true porcelain per- plausibility of an early 19th-century account in the light of plexed potters and alchemists for several centuries. recent analytical data together with archival material. Islamic potters, trying to imitate the white appearance of porcelain, introduced tin oxide into the transparent Porcelain was first discovered in China, with the glaze as an opacifier.