Chinese Porcelain in Europe
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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. -
Natalia Khlebtsevich
Natalia Khlebtsevich https://www.khlebtsevich.com/ https://www.facebook.com/profile.php?id=100003401203572 https://www.instagram.com/khlebtsevich_natalia/ [email protected] +7 916 141 84 93 Born in Moscow 1971. Graduated from Stroganov Moscow State University of Industrial and Applied Arts (1990-1996, Department of Ceramics), with postgraduate studies in art history in the same school (1998- 2000). Member of the Moscow Union of Artists, International Artist Federation, International Academy of Ceramics IAC, Professor of the Stroganov University. Starting 1993 constantly participated in Russian and International exhibitions. Many of Natalia Khlebtsevich's installations are marked by the presence of biological components. The primary media of her work are clay and porcelain which, by way of firing, become permanently unchangeable, thus signifying the irrevocable terminality. Juxtaposed to this nominal timelessness, the biological, obviously mortal parts stand as contrapuntal elements embodying life and growth, constantly changing the visual perception of the objects. Some of the installations include light and water and soundtracks epitomizing the passage of time. The work is not in a state of standstill, the accompanying living things and recorded sounds induce the viewers in the process of its creation engaging them to participate in artist’s exploration of human condition and the perception of time. Prizes: • Laureate. International Ceramics Festival. Gzhel. Russia.2018 • Honorable Mention of the Jury. 39th International Ceramics Competition in Gualdo Tadino (Italy). 2017. • Honorable Mention of the Jury. 2017.11 MINO Ceramics Festival (Japan). • Nominee. Kandinsky Prize. 2009 и 2011. Breus Foundation. • Laureate of Young Artist Show 2004. Moscow Union of Artists. • Laureate. International Festival of Archtecture and Design. -
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. -
Empirical Analysis and Countermeasure Study on the Development Capability of Marine Industry in Jiangmen City Jianhua Xiao1, Shihui Guo1*
Advances in Economics, Business and Management Research, volume 159 Fifth International Conference on Economic and Business Management (FEBM 2020) Empirical Analysis and Countermeasure Study on the Development Capability of Marine Industry in Jiangmen City Jianhua Xiao1, Shihui Guo1* 1School of Economics and Management, WuYi University, Jiangmen, Guangdong 529020 *Corresponding author. Email: [email protected] ABSTRACT Jiangmen City is located in the western Pearl River Delta Marine Economic Zone, east is adjacent to the Xijiang Golden Waterway, west is connected to the coastal economic hinterland of western Guangdong, south is bordered by the South China Sea International Waterway, and north is bordered by Guangfo. Therefore, as the hinterland of the construction of the "Guangdong-Hong Kong-Macao Greater Bay Area", it is of far- reaching significance to promote the development of the marine industry. This article uses SPSS statistical analysis software and mainly uses the main level analysis method to analyze the development status of the marine industry in Jiangmen from 2011 to 2016. The empirical analysis results show that the overall trend of the development of the marine industry in Jiangmen in the past six years is improving, but at the same time facing the irrational structure of the marine industry, the prominent problems of the marine ecological environment, and the insufficient scientific and technological innovation capabilities of the marine industry. Keywords: Marine economy of Jiangmen city, Industrial development, Principal component analysis the key construction of the three blue industrial belts of 1. INTRODUCTION Sichuan Island, Guanghai Bay, and Yinzhou Lake [5]. In April 2013, the Jiangmen Municipal Party Committee and Jiangmen is a major marine city in Guangdong Province, Municipal Government issued the "Implementation with abundant marine resources such as islands, tidal flats. -
The Museum in the City
01 / 2019 ISSN 2520-2472 MUSEUMUSEUMMSS OFOF CITIESCITIES REVIEW REVIEW network.icom.museum/camoc/ Towards the ICOM Kyoto 2019: Get to know the museums of Osaka COnferenCe and GuIde relaTed TO MuseuMs 1 MUSEUMS OF CONTENTS CITIES REVIEW 25 18 21 04 15 08 03 Genk. Engaging with heritage Joana Sousa Monteiro Osaka 04 18 30 City in the Museum / - Introductory note: Museum Since 1918 Museum in the City Countdown to ICOM Kyoto 2019! 21 32 - History of Museum in Osaka: Overview of the development of Osaka city “Maximising the impact of Towards a City Museum and its museums cultural heritage on local Watch - The Museum of development” – Oriental Ceramics Osaka an OECD conference and 33 and the Nakanoshima guide related to From The Museum museums of the City for a Museum of the City 23 34 Culture: Considering the Quantum Culture: The future of museums is plural 38 Future conferences of a Natural History Museum 25 - Towards Conceptualizing A Post-Industrial Walk in Cover Photo: osaka Castle. © en.wikipedia.org Editorial Board: 2 From the Chair The ICOM General Conference happens every three 2019. Historic House Museums. Now that the deadline for the call for papers has is organizing the workshop “Towards a City Museum rd and 4th got the highest number of abstract proposals ever: ICOM Portugal and the Museum of Lisbon. The workshop intends to discuss and set up glad to know that so many good professionals are interested in our work. worldwide. The invited speakers for the workshop are As a learning tool about Japanese museums and museums of Osaka with an assessment of the History of Barcelona and European City Museums by Shugo Kato from the Osaka Museum of History. -
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. -
National Reports on Wetlands in South China Sea
United Nations UNEP/GEF South China Sea Global Environment Environment Programme Project Facility “Reversing Environmental Degradation Trends in the South China Sea and Gulf of Thailand” National Reports on Wetlands in South China Sea First published in Thailand in 2008 by the United Nations Environment Programme. Copyright © 2008, United Nations Environment Programme This publication may be reproduced in whole or in part and in any form for educational or non-profit purposes without special permission from the copyright holder provided acknowledgement of the source is made. UNEP would appreciate receiving a copy of any publication that uses this publicationas a source. No use of this publication may be made for resale or for any other commercial purpose without prior permission in writing from the United Nations Environment Programme. UNEP/GEF Project Co-ordinating Unit, United Nations Environment Programme, UN Building, 2nd Floor Block B, Rajdamnern Avenue, Bangkok 10200, Thailand. Tel. +66 2 288 1886 Fax. +66 2 288 1094 http://www.unepscs.org DISCLAIMER: The contents of this report do not necessarily reflect the views and policies of UNEP or the GEF. The designations employed and the presentations do not imply the expression of any opinion whatsoever on the part of UNEP, of the GEF, or of any cooperating organisation concerning the legal status of any country, territory, city or area, of its authorities, or of the delineation of its territories or boundaries. Cover Photo: A vast coastal estuary in Koh Kong Province of Cambodia. Photo by Mr. Koch Savath. For citation purposes this document may be cited as: UNEP, 2008. -
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. -
Chrónicaçores: Uma Circum-Navegação, Volume 3
ChrónicAçores: uma circum-navegação, volume 3 1 CHRÓNICAÇORES: UMA CIRCUM-NAVEGAÇÃO, DE TIMOR A MACAU, AUSTRÁLIA, BRASIL, BRAGANÇA ATÉ AOS AÇORES VOL. 3 ANO 2011 (CRÓNICAS 91 A 113 - 2011) Versão inédita não totalmente editada CHRÓNICAÇORES: UMA CIRCUM-NAVEGAÇÃO DE TIMOR A MACAU, AUSTRÁLIA, BRASIL, BRAGANÇA ATÉ AOS AÇORES VOLUME 3 J. CHRYS CHRYSTELLO 2017 TODOS OS DIAS DEVÍAMOS OUVIR UM POUCO DE MÚSICA, LER UMA BOA POESIA, VER UM QUADRO BONITO E, SE POSSÍVEL, DIZER ALGUMAS PALAVRAS SENSATAS. GOETHE O TEMPO É UM ÓTIMO PROFESSOR. PENA É QUE MATE OS SEUS ALUNOS. (HECTOR BERLIOZ) 1 ChrónicAçores: uma circum-navegação, volume 3 Ficha técnica – Outras obras do autor: 2 LIVROS, PREFÁCIOS E TRADUÇÕES DE LIVROS 2018 FOTOEMAS foto book, fotografia de Fátima Salcedo e poemas dos Açores de Chrys Chrystello e-livro http://www.blurb.com/b/8776650-fotoemas ISBN: 9781388351083 2018 revisão, compilação e Nota Introdutória de Missionários açorianos em Timor vol2 de D Carlos F Ximenes Belo, ed. AICL e Câmara Municipal de Ponta Delgada, ed. Letras Lavadas 2018. ChrónicAçores: uma circum-navegação, vol. 2, 3ª ed. https://www.lusofonias.net/arquivos/429/OBRAS-DO-AUTOR/1012/ChronicAcores-uma-circum- navegacao-vol.-2-(3%C2%AA-ed-2018).pdf 2018, ChrónicAçores: uma circum-navegação, vol. 1, 3ª ed. https://www.lusofonias.net/arquivos/429/OBRAS-DO-AUTOR/1013/chronicacores,-uma-circum- navegacao-vol.1--3%C2%AA-ed-2018.pdf 2017. Bibliografia Geral da Açorianidade em 2 vols. 19500 entradas, Ed. Letras Lavadas Publiçor, Ponta Delgada 2’17, revisão, compilação e Tradução de “O mundo perdido de Timor-Leste” de José Ramos-Horta ed. -
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).