The Beginning of Faience in China a Review and New Evidence
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Maria Khayutina • [email protected] the Tombs
Maria Khayutina [email protected] The Tombs of Peng State and Related Questions Paper for the Chicago Bronze Workshop, November 3-7, 2010 (, 1.1.) () The discovery of the Western Zhou period’s Peng State in Heng River Valley in the south of Shanxi Province represents one of the most fascinating archaeological events of the last decade. Ruled by a lineage of Kui (Gui ) surname, Peng, supposedly, was founded by descendants of a group that, to a certain degree, retained autonomy from the Huaxia cultural and political community, dominated by lineages of Zi , Ji and Jiang surnames. Considering Peng’s location right to the south of one of the major Ji states, Jin , and quite close to the eastern residence of Zhou kings, Chengzhou , its case can be very instructive with regard to the construction of the geo-political and cultural space in Early China during the Western Zhou period. Although the publication of the full excavations’ report may take years, some preliminary observations can be made already now based on simplified archaeological reports about the tombs of Peng ruler Cheng and his spouse née Ji of Bi . In the present paper, I briefly introduce the tombs inventory and the inscriptions on the bronzes, and then proceed to discuss the following questions: - How the tombs M1 and M2 at Hengbei can be dated? - What does the equipment of the Hengbei tombs suggest about the cultural roots of Peng? - What can be observed about Peng’s relations to the Gui people and to other Kui/Gui- surnamed lineages? 1. General Information The cemetery of Peng state has been discovered near Hengbei village (Hengshui town, Jiang County, Shanxi ). -
2013 EFP Catalog 19 April
Ephraim Pottery Studio Collection April 2013 Welcome! Dear pottery and tile enthusiasts, As you can see from this catalog, we’ve been busy working on new pottery and tiles over the past several months. While this is an ongo- ing process, we have also been taking a closer look at what we want our pottery to represent. Refocusing on our mission, we have been reminded how important the collaborative work environment is to our studio. When our artists bring their passion for their work to the group and are open to elevating their vision, boundaries seem to drop away. I like to think that our world would be a much better place if a collaborative approach could be emphasized in our homes, schools, and workplaces... in all areas of our lives, in fact. “We are better to- gether” is a motto that is in evidence every day at EFP. Many times in the creative process, we can develop a new concept most of the way quickly. Often, it’s that last 10% that requires work, grit and determination. It can take weeks, months, or even years to bring a new concept to fruition. Such has been the case with frames and stands for our tiles. Until recently, John Raymond was in charge of glaz- ing. As some of you know, John is also a talented woodworker who has been developing a line of quarter-sawn oak frames and stands for our tiles. While we have been able to display some of these at shows and in our galleries over the past year, we would like to make frames and stands available to all our customers. -
Architectural Tiles: Conservation and Restoration Lesl-Fm.Qxd 11/10/04 10:16 AM Page Ii
Lesl-Fm.qxd 11/10/04 10:16 AM Page i Architectural Tiles: Conservation and Restoration Lesl-Fm.qxd 11/10/04 10:16 AM Page ii Butterworth-Heinemann Series in Conservation and Museology Series Editors: Arts and Archaeology Andrew Oddy British Museum, London Architecture Derek Linstrum Formerly Institute of Advanced Architectural Studies, University of York US Executive Editor: Norbert S. Baer New York University, Conservation Center of the Institute of Fine Arts Consultants: Sir Bernard Feilden Page Ayres Cowley, Conservation Architect, New York David Bomford National Gallery, London John Fidler English Heritage, London C.V. Horie Manchester Museum, University of Manchester Sarah Staniforth National Trust, London Jeanne Marie Teutonico The Getty Conservation Institute, Los Angeles Published titles: Care and Conservation of Geological Material (Howie) Chemical Principles of Textile Conservation (Timár-Balázsy, Eastop) Conservation and Restoration of Ceramics (Buys, Oakley) Conservation and Restoration of Glass (Davison) Conservation of Building and Decorative Stone (Ashurst, Dimes) Conservation of Earth Structures (Warren) Conservation of Furniture (Rivers, Umney) Conservation of Historic Buildings (Feilden) Conservation of Historic Timber Structures (Larsen, Marstein) Historic Floors: Their History and Conservation (Fawcett) A History of Architectural Conservation ( Jokilehto) Lacquer: Technology and Conservation (Webb) The Museum Environment, 2nd Edition (Thomson) The Organic Chemistry of Museum Objects, 2nd Edition (Mills, White) The Textile -
Analyzing Ancient Egyptian Faience
THE PENNSYLVANIA STATE UNIVERSITY SCHREYER HONORS COLLEGE DEPARTMENTS OF MATERIALS SCIENCE AND ENGINEERING AND ART HISTORY EXPLORING ANCIENT EGYPTIAN FAIENCE WITH NANOTECHNOLOGY: COMPOSITIONAL MAPPINGS, MICROSTRUCTURE ANALYSIS, AND MODERN APPLICATIONS ELYSSA IRIS OKKELBERG Summer 2011 A thesis submitted in partial fulfillment of the requirements for baccalaureate degrees in Materials Science and Engineering and Art History with interdisciplinary honors in Materials Science and Engineering and Art History Reviewed and approved∗ by the following: Paul Howell Professor of Metallurgy Thesis Supervisor Honors Advisor Elizabeth Walters Associate Professor of Art History Honors Advisor Digby MacDonald Distinguished Professor of Materials Science and Engineering Faculty Reader ∗Signatures are on file in the Schreyer Honors College. Abstract This thesis investigated Egyptian faience, an ancient ceramic material that consists of granular quartz or sand coated with an alkali-based glaze. Of interest is the pro- duction process of faience, in particular the raw materials and the glazing method. Previous investigations examined the production process using compositional and microstructural data from ancient and replicate faience. This study confirmed prior results by investigating faience beads produced in Abydos, Egypt during the 22nd Dynasty (c. 940–720 BC). Furthermore, this investigation improved upon earlier works by creating compositional mappings and analyzing previously over- looked parts of faience. Moreover, modern applications for faience technology were explored. i Table of Contents Abstract i List of Figures iv List of Tables vi Acknowledgments vii Chapter 1 Egyptian Faience 1 1.1 Background ............................... 1 1.2 Production ............................... 3 1.2.1 Rawmaterials.......................... 4 1.2.2 Shaping ............................. 7 1.2.3 GlazingMethod......................... 8 1.2.4 Firing ............................. -
The Earliest Maiolica Ceramic Dishes in the Old Town in Vilnius
THE EARLIEST MAIOLICA CERAMIC DISHES IN THE OLD TOWN IN VILNIUS MIGLĖ URBONAITĖ-UBĖ BALTICA 21–22 BALTICA Abstract The paper analyses maiolica ceramic dishes from the late 16th and early 17th centuries found in Vilnius’ Old Town. The items in question were the first imported maiolica dishes in the town. They are classified and their production sites are identified on the basis of their technical and stylistic characteristics, and in accordance with foreign analogies. Thus, five plates are as- signed to the Antwerp production centre, while the stylistic and manufacturing characteristics of another plate are found to be ARCHAEOLOGIA similar to the Haarlem and Antwerp maiolica production centres. One small bowl with religious inscriptions is assigned to the Faenza production centre in Italy. A fragment of a berrettino-type plate is associated with the Liguria region or Venice. The paper attempts to assess the significance of the first maiolica dishes in daily life in Vilnius in the late 16thand early 17th cen- turies. The relationship between the find spots and historical data suggests that four dishes could be associated with Catholic monasteries. During the period in question, maiolica ceramics were a rarity: they performed both an aesthetic and a luxury function; on three pieces of bottoms of plates, holes were found for hanging the plate on the wall. The information presented in the paper provides an opportunity to deepen our knowledge about maiolica dishes in Vilnius’ Old Town, which have not been investigated much, and to identify the prospects for further research. Key words: Vilnius’ Old Town, ceramic dishes, maiolica, Antwerp, Faenza, Liguria. -
FINE EUROPEAN CERAMICS Wednesday 14 June 2017
FINE EUROPEAN CERAMICS Wednesday 14 June 2017 SPECIALIST AND AUCTION ENQUIRIES EUROPEAN CERAMICS Sebastian Kuhn Nette Megens Sophie von der Goltz FINE EUROPEAN CERAMICS Wednesday 14 June 2017 at 2pm New Bond Street, London VIEWING ENQUIRIES CUSTOMER SERVICES PHYSICAL CONDITION OF Sunday 11 June Nette Megens Monday to Friday 8.30am LOTS IN THIS AUCTION 11am - 3pm Head of Department to 6pm PLEASE NOTE THAT ANY Monday 12 June +44 (0) 20 7468 8348 +44 (0) 20 7447 7447 REFERENCE IN THIS 9am - 4.30pm [email protected] CATALOGUE TO THE PHYSICAL Tuesday 13 June Please see page 2 for bidder CONDITION OF ANY LOT IS FOR 9am - 4.30pm Sebastian Kuhn information including after-sale GENERAL GUIDANCE ONLY. +44 (0) 20 7468 8384 collection and shipment INTENDING BIDDERS MUST SALE NUMBER [email protected] SATISFY THEMSELVES AS TO 24223 THE CONDITION OF ANY LOT Sophie von der Goltz AS SPECIFIED IN CLAUSE 14 OF CATALOGUE +44 (0) 20 7468 8349 THE NOTICE TO BIDDERS [email protected] CONTAINED AT THE END OF £25.00 THIS CATALOGUE. International Director BIDS As a courtesy to intending +44 (0) 20 7447 7447 European Ceramics & Glass bidders, Bonhams will provide a +44 (0) 20 7447 7401 fax John Sandon written indication of the physical To bid via the internet please +44 (0) 20 7468 8244 condition of lots in this sale if a visit bonhams.com [email protected] request is received up to 24 hours before the auction starts. This Please note that bids should be written Indication is issued submitted no later than 4pm on subject to Clause 3 of the Notice the day prior to the sale. -
Salt Glazing in a Catenary Arch Kiln
SALT GLAZING IN A CATENARY ARCH KILN by ELDON LAVERN CLARK B. F. A., University of Kansas, 1953 A MASTER' S THESIS submitted in partial fulfillment of the requirements for the degree MASTER OF ARTS Department of Art KANSAS STATE UNIVERSITY Manhattan, Kansas 1966 Approved by: i#j w^,'. Major Professor ii TABLE OF CONTENTS INTRODUCTION 1 REVIEW OF LITERATURE 2 History of Salt Glazing 2 Technical Aspects of Salt Glazing .... 5 Kilns 17 MATERIAL AND METHODS 19 Construction of Catenary Arch Kiln 19 Operational Procedures 29 ANALYSIS OF FIRED WARE 39 Clay Body 39 Colorants 40 Salt Mixtures 42 CONCLUSIONS AND RECOMMENDATIONS 43 Conclusions 43 Recommendations 44 EVALUATION OF THESIS POTTERY 45 ACKNOWLEDGMENTS 85 REFERENCES .86 MfLD TV c ^ INTRODUCTION The purpose of this study was to determine the plausibility of salt glazing in a catenary arch kiln. The study was limited to kiln construction and its operation, and to ware production which characterized the simple, direct quality inherent in salt glazing. Background material was obtained from three, major sources: library collections of Kansas State University and the University of Kansas, personal correspondence with potters who have worked with salt glazing, and personal experience. The salt-glazing process is an inexpensive means of obtaining a hard, but handsome, glaze for stoneware. The salt-glazing industry flourished in Europe during the 17th and 18th centuries, and produced items such as ceramic utensils, beer mugs, and storage Jars. The industry was active in America during the colonial period. Today, however, salt glazing, on a large scale, is confined to industrial materials. -
THE VARIETY of Vance and Avon Faience: PART I, the VANCE FAIENCE COMPANY
Journal of the American Art Pottery Association, v.21 n.2 p.22-26, 2005. © American Art Pottery Association. http://www.aapa.info/Home/tabid/120/Default.aspx http://www.aapa.info/Journal/tabid/56/Default.aspx ISSN: 1098-8920 THE VARIETY OF Vance and Avon Faience: PART I, THE VANCE FAIENCE COMPANY BY JAMES L. MURPHY Seldom has there been a more disparate pair of ceramic Siamese twins than the Vance and Avon Faience companies of tiny Tiltonsville, Ohio, an Ohio River town about eight miles north of Wheeling, West Virginia. Sigafoose puts it more bluntly, if perhaps a little too bluntly: “Most authors of the last 30 years continue to mistakenly refer to the Avon Faience Company as Vance/Avon Faience [although these] were two completely different organizations with different management, different designers and artists, and very different products that are signed with different marks.”1 Owl candlestick, “Good Evening Old Friend, “with embossed bat, man-in-the moon, and stars. 5 ¼ inches high, base impressed with block letter “F”. In terms of product, the work produced by the Vance pottery appears largely to have been the work of a single designer and modeler, Rudolph Lorber (1872-1952), better known for his later work at Zanesville's Weller Pottery, while the product of the Avon company was the result of diverse designers and decorators such as William P. Jervis (1851-1925), Frederick H. Rhead (1880-1942), and Albert L. Cusick (1881-1946). Both endeavors were short-lived, production by the Vance Faience Co. much the shorter, and Vance Faience pottery has been largely dismissed by collectors and historians alike, some pieces even described a bit harshly as being “bloated, molded wares.”2 Two examples of Vance Faience's hound-handled pitcher, made from old Daniel Greatbach molds. -
DAACS Cataloging Manual: Ceramics
DAACS Cataloging Manual: Ceramics by Jennifer Aultman, Nick Bon-Harper, Leslie Cooper, Jillian Galle, Kate Grillo, and Karen Smith OCTOBER 2003 LAST UPDATED OCTOBER 2014 INTRODUCTION .......................................................................................................... 6 1. CERAMIC ARTIFACT ENTRY ...................................................................................... 7 1.1 COUNT ......................................................................................................................... 7 1.2 WARE .......................................................................................................................... 8 1.3 MATERIAL ..................................................................................................................... 8 1.4 MANUFACTURING TECHNIQUE .......................................................................................... 9 1.5 VESSEL CATEGORY .......................................................................................................... 9 1.6 FORM ......................................................................................................................... 10 1.6.1 Teaware ............................................................................................................ 10 1.6.2 Tableware ......................................................................................................... 11 1.6.3 Utilitarian ......................................................................................................... -
Minimum Wage Standards in China August 11, 2020
Minimum Wage Standards in China August 11, 2020 Contents Heilongjiang ................................................................................................................................................. 3 Jilin ............................................................................................................................................................... 3 Liaoning ........................................................................................................................................................ 4 Inner Mongolia Autonomous Region ........................................................................................................... 7 Beijing......................................................................................................................................................... 10 Hebei ........................................................................................................................................................... 11 Henan .......................................................................................................................................................... 13 Shandong .................................................................................................................................................... 14 Shanxi ......................................................................................................................................................... 16 Shaanxi ...................................................................................................................................................... -
French Soft-Paste Porcelain During the 17Th and 18Th Centuries
French soft-paste porcelain during the 17th and 18th centuries Edgar Vigário July 2016 Abstract In 1673 Louis XIV give to Edme and Louis Poterat the privilege of porcelain manufacture similar to the one bought from China becoming Rouen the first production center of soft-paste in France. After it, others follow being the better documented listed in this article. 1 Figure 1 - Portrait of Madame de Montespan (detail); oil on canvas; Henri Gascard; 1675 - 1685; © Morgane Mouillade. Index copy the Chinese porcelain that arrived in the Introduction 1 country in large quantities, initially from de Dutch Rouen (1673 – 1696) 1 VOC and after 1664 mainly by the Compagnie Factory of Saint-Cloud (1693 - 1766) 4 Française des Indes Orientales. The new material Factory of Ville l'Evêque (1711 - 1766) 5 had as drawbacks, a high production lost which Factory of Lille (1711 - 1730) 6 Factory of Chantilly (1725 - 1800) 6 dramatically increase costs and the difficulty of Factory of Mennecy (1734 - 1773) 8 creating big pieces, due to the paste's low elasticity, Factory of Bourg-la-Reine (1773 - 1804) 11 however, these difficulties weren't enough to Factory of Sceaux (1748 - c. 1810) 11 prevent the creation of several factories on the Factory of Vincennes (1741 - 1756) and Sèvres (1756 - 1804) 12 th Factory of Orléans (1753 - 1768) 14 French territory during the late 17 century and the Factory of Crépy-en-Valois (1762 - 1770) 15 beginnings of the 18th century from whom stands Factory of Étiolles (1766 -?) 15 out by their historical significance and/or exquisite Factory of Arras (1770 - 1790) 15 production the workshops and factories that are References 16 listed in this document. -
CHINA the Church of Almighty God: Prisoners Database (1663 Cases)
CHINA The Church of Almighty God: Prisoners Database (1663 cases) Prison term: 15 years HE Zhexun Date of birth: On 18th September 1963 Date and place of arrest: On 10th March 2009, in Xuchang City, Henan Province Charges: Disturbing social order and using a Xie Jiao organization to undermine law enforcement because of being an upper-level leader of The Church of Almighty God in mainland China, who was responsible for the overall work of the church Statement of the defendant: He disagreed with the decision and said what he believed in is not a Xie Jiao. Court decision: In February 2010, he was sentenced to 15 years in prison by the Zhongyuan District People’s Court of Zhengzhou City, Henan Province. Place of imprisonment: No. 1 Prison of Henan Province Other information: He was regarded by the Chinese authorities as a major criminal of the state and had long been on the wanted list. To arrest him, authorities offered 500,000 RMB as a reward to informers who gave tips leading to his arrest to police. He was arrested at the home of a Christian in Xuchang City, Henan Province. Based on the information from a Christian serving his sentence in the same prison, HE Zhexun was imprisoned in a separate area and not allowed to contact other prisoners. XIE Gao, ZOU Yuxiong, SONG Xinling and GAO Qinlin were arrested in succession alongside him and sentenced to prison terms ranging from 11 to 12 years. Source: https://goo.gl/aGkHBj Prison term: 14 years MENG Xiumei Age: Forty-one years old Date and place of arrest: On 14th August 2014, in Xinjiang Uyghur Autonomous Region Charges: Using a Xie Jiao organization to undermine law enforcement because of being a leader of The Church of Almighty God and organizing gatherings for Christians and the work of preaching the gospel in Ili prefecture Statement of the defendant: She claimed that her act did not constitute crimes.