The Provenance of Export Porcelain Recovered from the Nan'ao
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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. -
Hong Kong SAR
China Data Supplement November 2006 J People’s Republic of China J Hong Kong SAR J Macau SAR J Taiwan ISSN 0943-7533 China aktuell Data Supplement – PRC, Hong Kong SAR, Macau SAR, Taiwan 1 Contents The Main National Leadership of the PRC 2 LIU Jen-Kai The Main Provincial Leadership of the PRC 30 LIU Jen-Kai Data on Changes in PRC Main Leadership 37 LIU Jen-Kai PRC Agreements with Foreign Countries 47 LIU Jen-Kai PRC Laws and Regulations 50 LIU Jen-Kai Hong Kong SAR 54 Political, Social and Economic Data LIU Jen-Kai Macau SAR 61 Political, Social and Economic Data LIU Jen-Kai Taiwan 65 Political, Social and Economic Data LIU Jen-Kai ISSN 0943-7533 All information given here is derived from generally accessible sources. Publisher/Distributor: GIGA Institute of Asian Affairs Rothenbaumchaussee 32 20148 Hamburg Germany Phone: +49 (0 40) 42 88 74-0 Fax: +49 (040) 4107945 2 November 2006 The Main National Leadership of the PRC LIU Jen-Kai Abbreviations and Explanatory Notes CCP CC Chinese Communist Party Central Committee CCa Central Committee, alternate member CCm Central Committee, member CCSm Central Committee Secretariat, member PBa Politburo, alternate member PBm Politburo, member Cdr. Commander Chp. Chairperson CPPCC Chinese People’s Political Consultative Conference CYL Communist Youth League Dep. P.C. Deputy Political Commissar Dir. Director exec. executive f female Gen.Man. General Manager Gen.Sec. General Secretary Hon.Chp. Honorary Chairperson H.V.-Chp. Honorary Vice-Chairperson MPC Municipal People’s Congress NPC National People’s Congress PCC Political Consultative Conference PLA People’s Liberation Army Pol.Com. -
Ming Dynasty Porcelain Plate Laura G
Wonders of Nature and Artifice Art and Art History Fall 2017 Blue-and-White Wonder: Ming Dynasty Porcelain Plate Laura G. Waters '19, Gettysburg College Follow this and additional works at: https://cupola.gettysburg.edu/wonders_exhibit Part of the Ancient, Medieval, Renaissance and Baroque Art and Architecture Commons, Fine Arts Commons, History of Science, Technology, and Medicine Commons, Industrial and Product Design Commons, and the Intellectual History Commons Share feedback about the accessibility of this item. Waters, Laura G., "Blue-and-White Wonder: Ming Dynasty Porcelain Plate" (2017). Wonders of Nature and Artifice. 12. https://cupola.gettysburg.edu/wonders_exhibit/12 This is the author's version of the work. This publication appears in Gettysburg College's institutional repository by permission of the copyright owner for personal use, not for redistribution. Cupola permanent link: https://cupola.gettysburg.edu/wonders_exhibit/12 This open access student research paper is brought to you by The uC pola: Scholarship at Gettysburg College. It has been accepted for inclusion by an authorized administrator of The uC pola. For more information, please contact [email protected]. Blue-and-White Wonder: Ming Dynasty Porcelain Plate Abstract This authentic Ming Dynasty (1368-1644) plate is a prime example of early export porcelain, a luminous substance that enthralled European collectors. The eg nerous gift of oJ yce P. Bishop in honor of her daughter, Kimberly Bishop Connors, Ming Dynasty Blue-and-White Plate is on loan from the Reeves Collection at Washington and Lee University in Lexington, Virginia. The lp ate itself is approximately 7.75 inches (20 cm) in diameter, and appears much deeper from the bottom than it does from the top. -
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. -
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. -
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. -
Cincinnati Art Asian Society Virtual November 2020: Asian Ceramics
Cincinnati Art Asian Society Virtual November 2020: Asian Ceramics Though we can't meet in person during the pandemic, we still want to stay connected with you through these online resources that will feed our mutual interest in Asian arts and culture. Until we can meet again, please stay safe and healthy. Essays: East and West: Chinese Export Porcelain https://www.metmuseum.org/toah/hd/ewpor/hd_ewpor.htm Introduced to Europe in the fourteenth century, Chinese porcelains were regarded as objects of great rarity and luxury. Through twelve examples you’ll see luxury porcelains that appeared in Europe in the fifteenth and sixteenth centuries, often mounted in gilt silver, which emphasized their preciousness and transformed them into entirely different objects. The Vibrant Role of Mingqui in Early Chinese Burials https://www.metmuseum.org/toah/hd/mgqi/hd_mgqi.htm Burial figurines of graceful dancers, mystical beasts, and everyday objects reveal both how people in early China approached death and how they lived. Since people viewed the afterlife as an extension of worldly life, these ceramic figurines, called mingqi or “spirit goods,” disclose details of routine existence and provide insights into belief systems over a thousand-year period. Mingqi were popularized during the formative Han dynasty (206 B.C.–220 A.D.) and endured through the turbulent Six Dynasties period (220–589) and the later reunification of China in the Sui (581–618) and Tang (618–907) dynasties. There are eleven ceramic burial goods (and one limestone) as great examples of mingqui. Indian Pottery https://www.veniceclayartists.com/tag/indian-pottery/ The essay is informative but short. -
The Study of Chinese Trade Ceramics in Sungai Sadong, Sarawak Jonathan
THE STUDY OF CHINESE TRADE CERAMICS IN SUNGAI SADONG, SARAWAK JONATHAN KO JIA YI UNIVERSITI SAINS MALAYSIA 2015 THE STUDY OF CHINESE TRADE CERAMICS IN SUNGAI SADONG, SARAWAK by JONATHAN KO JIA YI Thesis submitted in fulfilment of the requirements for degree of Master of Arts January 2015 ACKNOWLEDGEMENTS This study was made possible with the assistance and support of a number of people and organisations. First of all, I would like to thank my supervisor, Associate Professor Dr. Stephen Chia Ming Soon, the Deputy Director of the Centre for Global Archaeological Research (CGAR), Universiti Sains Malaysia (USM), Penang, for his tremendous support and excellent guidance during my research, and for providing me with a conductive environment for doing my research. I would also like to express my gratitude to the Director of CGAR, Professor Dato’ Dr. Mokhtar Saidin for giving me the opportunity to undertake the graduate study program at CGAR. I am deeply indebted to his constant support and encouragement. I also wish to thank USM for providing the environment and the financial assistance for this research under the USM Research University Grant. My thanks also go to the Institute of Postgraduate Studies in USM for providing the USM Postgraduate Fellowship during the course of my study. The analysis of Chinese trade ceramic in Sadong River, Sarawak was done over a period of more than one year at the Archaeology Section, Sarawak Museum Department with the assistance of a number of people. First of all, I would like to thank the Director of the Sarawak Museum Department, Mr. -
Antique Pair Japanese Meiiji Imari Porcelain Vases C1880
anticSwiss 29/09/2021 17:25:52 http://www.anticswiss.com Antique Pair Japanese Meiiji Imari Porcelain Vases C1880 FOR SALE ANTIQUE DEALER Period: 19° secolo - 1800 Regent Antiques London Style: Altri stili +44 2088099605 447836294074 Height:61cm Width:26cm Depth:26cm Price:2250€ DETAILED DESCRIPTION: A monumental pair of Japanese Meiji period Imari porcelain vases, dating from the late 19th Century. Each vase features a bulbous shape with the traditional scalloped rim, over the body decorated with reserve panels depicting court garden scenes and smaller shaped panels with views of Mount Fuji on chrysanthemums and peonies background adorned with phoenixes. Each signed to the base with a three-character mark and on the top of each large panel with a two-character mark. Instill a certain elegance to a special place in your home with these fabulous vases. Condition: In excellent condition, with no chips, cracks or damage, please see photos for confirmation. Dimensions in cm: Height 61 x Width 26 x Depth 26 Dimensions in inches: Height 24.0 x Width 10.2 x Depth 10.2 Imari ware Imari ware is a Western term for a brightly-coloured style of Arita ware Japanese export porcelain made in the area of Arita, in the former Hizen Province, northwestern Ky?sh?. They were exported to Europe in large quantities, especially between the second half of the 17th century and the first half of the 18th century. 1 / 4 anticSwiss 29/09/2021 17:25:52 http://www.anticswiss.com Typically Imari ware is decorated in underglaze blue, with red, gold, black for outlines, and sometimes other colours, added in overglaze. -
Historic Narratives
Historic Narratives Bouke de Vries uses his skills as a conservator to create new work. Simon Martin explains. 1 We decided to bridge past and present by commissioning an installation…that would create new narratives 2 36 CERAMIC REVIEW 257 September/October 2012 As seen in CERAMIC REVIEW THE INTERNATIONAL MAGAZINE FOR CONTEMPORARY AND HISTORICAL CERAMIC ART 1 Leo, from Signs (Metamorphosis), eighteenth-century Derby figure with silver crown and mixed media, 2011, H37cm 2 Aries, from Signs (Metamorphosis), Ming figure of Guan Yin with mixed media, 2011, H35cm 3 Vanitas, exploded Bow porcelain teapot, c1765/2012, Ø28cm 3 As part of the Cultural Olympiad this year there are many Olympic- collection the Gallery could have mounted a worthy, but conventional themed art projects taking place around the country, created by some historic survey exhibition, but instead we decided to bridge past of Britain’s leading contemporary artists such as Anish Kapoor and present by commissioning an installation from a contemporary and Jeremy Deller. Yet there are seemingly few projects involving artist that would create new narratives and connections between ceramics, despite the fact that the site of the Olympic village in the the individual pieces. The notion of inviting contemporary artists Lea Valley in East London is intimately tied to the history of British to engage with historic collections is by no means unique: recent ceramics. In the 1740s this was where Thomas Frye and Edward successful examples have included Grayson Perry at the British Heylyn established the Bow Porcelain Factory on the banks of the Museum, George Shaw’s Graham Sutherland exhibition at River Lea, producing soft-paste porcelain to imitate imported Chinese Modern Art Oxford and, Edmund de Waal at Waddesdon Manor, and Japanese porcelains and rival the wares being produced at Buckinghamshire. -
The Positive Impact of Macau Low-Cost Carriers to Enhance Regional Tourism Economy
http://jms.sciedupress.com Journal of Management and Strategy Vol. 7, No. 4; 2016 The Positive Impact of Macau Low-cost Carriers to Enhance Regional Tourism Economy Xin Wang1, Chia Hsin Leou1 & Jiayi Li2 1 Faculty of International Tourism and Management, City University of Macau, Macau 2 MBA-Accounting, School of Business, Johnson & Wales University, United States Correspondence: Xin Wang, Faculty of International Tourism and Management, City University of Macau, Edifício Choi Kai Yau - N Building, 5º Andar, Avda. Padre Tomás Pereira, Taipa, Macau. Received: July 28, 2016 Accepted: August 7, 2016 Online Published: October 28, 2016 doi:10.5430/jms.v7n4p11 URL: http://dx.doi.org/10.5430/jms.v7n4p11 Abstract It is certainly that Low-cost carriers could come out during the time tourism being popularized. Also it is a way that being used to occupy market shares and increase purchase rate among potential customers. Meanwhile, the development of low-cost carriers is changing the segment market and direction in air industry by re-integration the function of regional tourism, cooperate and segregate in tourist destination. It becomes a trend as complementary development between low-cost carriers and tourism industry. In the future, we should focus on building an entire low-cost carriers tourism system, improving low-cost carriers’ specialized products, in order to meet win-win requirement among low-cost carriers and regional tourism. Keywords: Macau low-cost carriers, regional tourism economy, strategies 1. Introduction 1.1 Current Situation of Macau Macau has become known worldwide as the “Monte Carlo of the Orient” since Portuguese government legalized gambling in the colony in 1850s.