8.0 Specialists' Reports 8.1 Ceramics Report
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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. -
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. -
Asian Art at Christie's Fine Chinese Ceramics & Works Of
PRESS RELEASE | L O N D O N FOR IMMEDIATE RELEASE | 24 O C T O B E R 2 0 1 8 Asian Art at Christie’s Fine Chinese Ceramics & Works of Art Including The Soame Jenyns Collection of Japanese and Chinese Art London, November 2018 London – On 6 November 2018, Christie’s Fine Chinese Ceramics & Works of Art auction will present an array of rare works of exceptional quality and with important provenance, many offered to the market for the first time in decades. The season will be highlighted by exquisite imperial ceramics, fine jade carvings, Buddhist art, huanghuali furniture, paintings from celebrated modern Chinese artists, along with works of art from a number of important collections, including The Soame Jenyns Collection of Japanese and Chinese Art. The works will be on view and open to the public from 2 to 5 November. The auction will be led by a moonflask, Bianhu, Yongzheng six-character seal mark in underglaze blue and of the period (1725-1735) (estimate on request). This magnificent flask is exceptionally large, and takes both its A Rare Large Ming-Style Blue and form and decoration from vessels made in the early 15th century. The White Moonflask, Bianhu, Yongzheng six-character seal mark Yongzheng Emperor was a keen antiquarian and a significant number of in underglaze blue and of the objects produced for his court were made in the antique style, particularly period (1725-1735) blue and white porcelain, and so their style was often adopted for imperial Estimate on request Yongzheng wares in the 18th century. -
Chinese Ceramics in the Late Tang Dynasty
44 Chinese Ceramics in the Late Tang Dynasty Regina Krahl The first half of the Tang dynasty (618–907) was a most prosperous period for the Chinese empire. The capital Chang’an (modern Xi’an) in Shaanxi province was a magnet for international traders, who brought goods from all over Asia; the court and the country’s aristocracy were enjoying a life of luxury. The streets of Chang’an were crowded with foreigners from distant places—Central Asian, Near Eastern, and African—and with camel caravans laden with exotic produce. Courtiers played polo on thoroughbred horses, went on hunts with falconers and elegant hounds, and congregated over wine while being entertained by foreign orchestras and dancers, both male and female. Court ladies in robes of silk brocade, with jewelry and fancy shoes, spent their time playing board games on dainty tables and talking to pet parrots, their faces made up and their hair dressed into elaborate coiffures. This is the picture of Tang court life portrayed in colorful tomb pottery, created at great expense for lavish burials. By the seventh century the manufacture of sophisticated pottery replicas of men, beasts, and utensils had become a huge industry and the most important use of ceramic material in China (apart from tilework). Such earthenware pottery, relatively easy and cheap to produce since the necessary raw materials were widely available and firing temperatures relatively low (around 1,000 degrees C), was unfit for everyday use; its cold- painted pigments were unstable and its lead-bearing glazes poisonous. Yet it was perfect for creating a dazzling display at funeral ceremonies (fig. -
Cover Page the Handle Holds Various Files of This Leiden University Dissertation. Author: Krahe
Cover Page The handle http://hdl.handle.net/1887/28741 holds various files of this Leiden University dissertation. Author: Krahe, Cinta Title: Chinese porcelain and other orientalia and exotica in Spain during the Habsburg dynasty Issue date: 2014-09-18 Chinese Porcelain and other Orientalia and Exotica in Spain during the Habsburg Dynasty GENEALOGY OF THE SPANISH HABSBURG ROYAL HOUSE ROYAL HABSBURG OF THE SPANISH GENEALOGY 279 Cinta Krahe 280 Chinese Porcelain and other Orientalia and Exotica in Spain during the Habsburg Dynasty BIBLIOGRAPHY Abad Zardoya 2005 Carmen Abad Zardoya, La casa y los objetos. Espacio doméstico y cultura material en la Zaragoza de la primera mitad del Siglo XVIII, Zaragoza, 2005. Abad Zardoya 2009 Carmen Abad Zardoya, ‘ Por el bien y beneficios que de su mano hemos recibido: estudio documental de una donación de bienes muebles hecha por Tomás de Borja a su sobrino el duque de Lerma en 1608’ in Artigrama, no. 24, 2009, pp. 341-71. Addis 1970 John M. Addis, ‘Chinese Porcelain Found in the Philippines’, in Transactions of the Oriental Ceramic Society, vol. 37, 1970, pp. 17–36. Adhyatman and Ridho1984 Sumarah Adhyatman and Abu Ridho, Tempayan Martavans in Indonesia, Jakarta, 1984. (2nd ed.) Adhyatman 1987 Sumarah Adhyatman, Kendi, Jakarta, 1987. Adhyatman 1999 Sumarah Adhyatman, Zhangzhou (Swatow) Ceramics: Sixteenth to Seventeenth Centuries found in Indonesia, Jakarta, 1999. Aguado de los Reyes 1994 Jesús Aguado de los Reyes, Riqueza y Sociedad en la Sevilla del Siglo XVII, Seville, 1994. Aguado de los Reyes 1996 Jesús Aguado de los Reyes, Fortuna y miseria en la Sevilla del siglo XVII, Seville, 1996. -
1 the Willow Pattern
The East India Company at Home, 1757-1857 – UCL History The Willow Pattern: Dunham Massey By Francesca D’Antonio Please note that this case study was first published on blogs.ucl.ac.uk/eicah in June 2014. For citation advice, visit: http://blogs.uc.ac.uk/eicah/usingthewebsite. Unlike other ‘objects studies’ featured in the East India Company At Home 1757-1857 project, this case study will focus on a specific ceramic ware pattern rather than a particular item associated with the East India Company (EIC). With particular attention to the contents of Dunham Massey, Greater Manchester, I focus here on the Willow Pattern, a type of blue and white ‘Chinese style’ design, which was created in 1790 at the Caughley Factory in Shropshire. The large-scale production of ceramic wares featuring the same design became possible only in the late eighteenth century after John Sadler and Guy Green patented their method of transfer printing for commercial use in 1756. Willow Pattern wares became increasingly popular in the early nineteenth century, allowing large groups of people access to this design. Despite imitating Chinese wares so that they recalled Chinese hard-stone porcelain body and cobalt blue decorations, these wares remained distinct from them, often attracting lower values and esteem. Although unfashionable now, they should not be merely dismissed as poor imitations by contemporary scholars, but rather need to be recognized for their complexities. To explore and reveal the contradictions and intricacies held within Willow Pattern wares, this case study asks two simple questions. First, what did Willow Pattern wares mean in nineteenth-century Britain? Second, did EIC families—who, as a group, enjoyed privileged access to Chinese porcelain—engage with these imitative wares and if so, how, why and what might their interactions reveal about the household objects? As other scholars have shown, EIC officials’ cultural understandings of China often developed from engagements with the materials they imported, as well as discussions of and visits to China. -
Volume 18 (2011), Article 3
Volume 18 (2011), Article 3 http://chinajapan.org/articles/18/3 Lim, Tai Wei “Re-centering Trade Periphery through Fired Clay: A Historiography of the Global Mapping of Japanese Trade Ceramics in the Premodern Global Trading Space” Sino-Japanese Studies 18 (2011), article 3. Abstract: A center-periphery system is one that is not static, but is constantly changing. It changes by virtue of technological developments, design innovations, shifting centers of economics and trade, developmental trajectories, and the historical sensitivities of cultural areas involved. To provide an empirical case study, this paper examines the material culture of Arita/Imari 有田/伊万里 trade ceramics in an effort to understand the dynamics of Japan’s regional and global position in the transition from periphery to the core of a global trading system. Sino-Japanese Studies http://chinajapan.org/articles/18/3 Re-centering Trade Periphery through Fired Clay: A Historiography of the Global Mapping of Japanese Trade Ceramics in the 1 Premodern Global Trading Space Lim Tai Wei 林大偉 Chinese University of Hong Kong Introduction Premodern global trade was first dominated by overland routes popularly characterized by the Silk Road, and its participants were mainly located in the vast Eurasian space of this global trading area. While there are many definitions of the Eurasian trading space that included the so-called Silk Road, some of the broadest definitions include the furthest ends of the premodern trading world. For example, Konuralp Ercilasun includes Japan in the broadest definition of the silk route at the farthest East Asian end.2 There are also differing interpretations of the term “Silk Road,” but most interpretations include both the overland as well as the maritime silk route. -
The Concept of the Five Famous Wares of the Song Dynasty —A Modern Invention
The Concept of the Five Famous Wares of the Song Dynasty —A Modern Invention Sabrina Rastelli Department of Asian and North African Studies, Ca’ Foscari University of Venice, Venice, Italy Abstract The concept of the five famous wares of the Song dynasty is a fundamental theory that has influenced both researching and learning about Chinese ceramics. Archaeological excavations carried out since the 1950s and particularly during the past two decades have provided modern scholars with many and precious pieces of information that have deeply changed our understanding of the history of Chinese ceramics. They have also undermined the concept itself, but when discussing Ding, Ru, Jun, Guan or Ge experts seldom resist the temptation to remind that it is one of the five famous wares. The aim of this paper is to trace back when and how this definition was coined, by combing through Chinese sources. Key words five famous wares China ceramics ceramic literature Song The concept of the five famous wares of the Song dynasty (Songdai Wuda Mingyao 宋代五大名窑 ) is a fundamental theory that has influenced both researching and learning about Chinese ceramics. At the end of the 1980s, Song wares were classified as either official or popular. The first category was constituted by the so-called five famous wares of the Song dynasty, namely Ding(定), Ru(汝), Jun(钧), Guan(官)and Ge(哥). Ten years later, while researching for my PhD thesis, I began to doubt the exactness of this theory, but I explored the problem only from the perspective of the Yaozhou ( 耀州 ) kilns (Rastelli, 2008). -
Antiques-February-1990-Victorian-Majolica.Pdf
if It1ud!!&/ ';"(* ./J1!11L. /,0t£~ltldtiJlR~~~rf;t;t r{/'~dff;z, f!71/#/~i' 4 . !(Jf~f{ltiJ(/dwc.e. dJ /¥ C\-Cit!Ja? /Hc a4 ~- t1 . I. le/. {./ ,...."".. //,; J.(f)':J{"&Tf ,4.~'.£1//,/1;"~._L~ • ~. ~~f tn.~! .....•. ... PL IL Baseball and Soccer pitcher made by Griffen, Smith and Company, PllOeni;'Cville,Pennsylvania. c.1884. Impressed "GSH "in nlOnogram on the bottom. Height 8 inches. The Wedgwood pattern book illustration of the same design is shown in PL Ila. Karmason/Stacke collection; White photograph. PL /la. Design from one of the pattern books of Josiah Wedgwood and Sons, Barlaston, Stoke-on-Trent, England. Wedgwood Museum, Barlaston, Stoke-on-Trent, England. and Company, Josiah Wedgwood and Sons, and majolica.! New designs for majolica ceased to be made George Jones and Sons. From these books one be• in the early 1890's, and production of majolica ceased comes familiar with the style of the maker and comes early in this century. to appreciate the deliberate choice of details that gives The Minton shape books are valuable not only be• each piece its unity. cause they help date the first production of a piece but By 1836 Herbert Minton (1792- 1858) had succeed• also because they show the development of the eclectic ed his father, Thomas (1765-1836), the founder of the and revivalist styles used by Minton artists. The earli• prestigious Minton firm. In 1848 Joseph Leon Fran• est style used by the firm was inspired by Renaissance ~ois Arnoux (1816-1902) became Minton's art direc• majolica wares.Z Large cache pots, urns, and platters tor, chief chemist, and Herbert Minton's close col• were decorated with flower festoons, oak leaves, car• league. -
14 Krahl 1 White Wares
Regina Krahl White Wares of Northern China Regina Krahl White Wares of Northern China he white stonewares on the Belitung wreck Huanghe (Yellow River), ‘are rich in clay min erals 1 Wood 1999, 27, with a map, 26; Tcomprised some 300 items, all of them made while stoneware and porcelain ‘clays’ south of the cf. also above pp. 119–122. in northern China. Most of them represent table- divide tend to be rock based and rich in fine 2 White wares made of a pure wares. As with green wares, two distinct qualities quartz and micas’.1 And it would seem that for white clay and fired at tempera- tures just high enough to qualify can be distinguished, reflecting the production the first two millennia or so of China’s historic as stonewares, have been dis- covered at sites of the late Shang of different kiln centres in Hebei and Henan. period, the two regions developed their ceramic dynasty at Anyang in Henan Among them are examples of probably the finest traditions quite independent from each other. province. These rare examples are finely made, fashioned in ceramic wares available at the time, and some Although the origins of stoneware production shapes and decorations imitating contemporary bronzes, but are of the earliest true porcelains made in China. in the north can equally be traced to the Shang lacking a glaze. No continuous They also include the only complete examples dynasty (c. 1600–c. 1050 BC), this part of China development of stonewares can be detected from these early be- dis covered so far of China’s earliest blue-and- lacked the continuous development which char- ginnings, and at present they still white ware. -
Auction Results SA240421 Saturday, 24 April 2021
Auction Results SA240421 Saturday, 24 April 2021 Lot No Description 2 A Victorian blue and white transfer meat plate liner printed with dog rose border to/w various other ceramics, including Royal £25.00 Worcester Astley coffee service, jasper ware, Japanese eggshell coffee service etc (box) 4 Two cut-glass ring-neck decanters and stoppers to/w three claret jugs with ep tops and give various other decanters (box) £70.00 5 Studio glass lustrous vase, signed Siddy Langley 1997 to/w an Imari cache-pot, Victorian china fruit dishes with matching £85.00 sauce tureens, Denby fruit bowl etc (box) 6 Two boxed Bilston enamel Easter eggs to/w two patch-boxes and two Halcyon Days boxes, lot also includes Victorian £65.00 rosewood tea caddy, coach lamp and eight various pewter mugs (box) 8 A Victorian Shelley blue and white cylindrical vase printed with dragons to/w various collectables including silver oddments, £40.00 Pathescope Ace projector, three Decca Toytown gramophone records, candles etc (box) 9 AnA Clarice 18th century Cliff honey-glazed style enamel dinner box with service hinged with cover, green painted banded with decoration, courting couples37 pieces in includingArcadian tureenssettings, and 9.5 cover cm wide to/w a £40.00 10 (possibly) Capodimonte box with painted interior to lid depicting 18th century family scene, Royal Doulton terrier cleaning £110.00 plate HN1158, Karl Ens owl, Dresden floral-painted heart-shaped pin-dish and an advertising jug for Worthingtons beer 11 A PottschapelMeakin pottery (Dresden) 'Nordic' Carlpattern -
“Wanted - Blue Willow in Any Color” Blue and White, Blue Willow, Flow Blue and Asiatic Pheasants China
“Wanted - Blue Willow in any Color” Blue and White, Blue Willow, Flow Blue and Asiatic Pheasants China away in Etruria, Josiah Wedgwood had created a fine new white earthenware, known as pearl ware, which had a lovely smooth surface, ideal to print on. By 1784 Spode was using his improved printing process to create lovely designs on this new pearl ware. For the first time a potter was making quality earthenware with beautiful designs, which would not wear off or fade from use, as they were under the glaze. It was tableware that was both durable and affordable and a mass market was born. y Transfer Printing rust.) Conceptually, transfer printing is simple, but to be suc- y potter T cessful it depends on the skill of execution. First select your design and ask your highly skilled engraver to care- fully engrave the design on a copper printing plate. After 6 to 8 weeks of painstaking work the engraver has finished one printing plate, which will be used to decorate the din- ner plate. He now starts to engrave the next copper plate to be used for the lunch plate and so his work goes on. tesy of Spode Museum Taking the freshly engraved plate, you hand it to your s working in a 19th Centur equally skilled printer, who covers the printing plate with er warm printing ink mixed with cobalt, wipes off the excess err awing cour ink leaving just the engraved lines and hatchings full of ansf r (Dr T ink, then prints an exact image onto fine, but strong tissue paper.