What Is Yixing Teapot

Total Page:16

File Type:pdf, Size:1020Kb

What Is Yixing Teapot Teapot in the shape of bamboo trucks The handcrafted Yixing teapot is in the shape of bamboo trunks and decorated with an openwork design of bamboo leaves. Bamboo is one of the “Three Friends of Winter”, the symbol of steadfastness, perseverance, and resilience in Chinese culture. They are highly regarded in Confucianism and as such represent the Chinese literati’s spirits. Yixing teapots are made from Zisha (purple clay) nearby Dīngshān, on the west side of Lake Tai in China. It has been known since the 10th century, and flourished with the popular fashion of tea drinking among the literati in the late Ming dynasty. Stoneware(zisha) Yixing, China AD 1700-1750, Qing Dynasty Franks.2478 I.Yixing Teapot What is Yixing Teapot Yixing Teapot is made from purple clay from Yixing, China. It’s a very special clay has been known since the 10th century, but the production of Yixing teapots flourished with the popular fashion for tea drinking among the literati in the late Ming dynasty. I.Yixing Teapot Yixing teapot is ideal for black and oolong teas, as well as aged pu‐erh teas. • The composition of the clay allows for minimal shrinking during firing, and this makes for a tightly fitting lid, which reduces oxidation and holds the tea's flavour. The porosity of purple clay also helps it to absorb the flavour of the tea brewed in the teapot. Teapots made of purple sand keep tea fresh and they make tea vibrate with taste. I.Yixing Teapot How to make Yixing Teapot • Purple clay • Tools • Dragon kiln II. Yixing Teapot and Literati Evolution of the teapot in Ming Dynasty Gong Chun(1506—1566) • Servant of literati Wu Yushan II. Yixing Teapot and Literati Shi Dabin(1573—1648) • Improvement of process • Make the teapot smaller to accord with Literati’s need. II. Yixing Teapot and Literati • Qing Dynasty(18 Century) • The literati began to involve the making of the Yixing Teapot II. Yixing Teapot and Literati • Chen Hongshou (1768‐ 1822) • Famous for calligraphy, painting and seal • Design new style of Yixing Teapot II. Yixing Teapot and Literati Chen Hongshou’s Painting II. Yixing Teapot and Literati • Simplified the decorating • Poem, Calligraphy, Printing and Seal Mansheng’s Teapot II. Yixing Teapot and Literati • Three Friends of Winter • pine • bamboo • plum II. Yixing Teapot and Literati Four Gentlemen • orchid • bamboo • chrysanthemum • plum blossom II. Yixing Teapot and Literati • Teapot in Literati’s Life II. Yixing Teapot and Literati • Tang Yun III. From daily item to Artwork • inheritance and development the design of the Yixing Teapot by Literati’s spirit III. From daily item to Artwork • Gu Jingzhou III. From daily item to Artwork • Shi Xiaoma III. Yixing Teapot in today • Constructivism • Cubism • Teapot Sculptural • Artdeco.
Recommended publications
  • A Synopsis of the Culture of Chinese Gardens..Pdf
    A Synopsis of the Culture of Chinese Gardens Prepared by Malcolm Wong – Chairman of the Dunedin Chinese Gardens Trust (February 2009) Introduction In his book Yuan Ye, which was completed in 1634, Ji Cheng wrote that although the garden is made with the hand of man it must look as though it was made in heaven. To fully understand the concept of the Chinese garden is to understand how the Chinese view the universe. This may seem a bold statement but over two thousand years of history gives it some credence. What then makes this so and why have Chinese gardens so fascinated the West? When did this fascination begin and why can’t these Gardens be recreated by western gardeners? In the 1920’s an educated Chinese gentlemen, on visiting Europe, commented when shown a “mown and bordered lawn which, while no doubt would be of interest to a cow, offers no interest to human beings”. Therein lies the fundamental difference in gardening between East and West. Chinese build gardens whereas the West plant gardens. However, if the difference was as simple as that to master, Chinese gardens would have been replicated with ease by the great western landscape architects. The fascination by the West of things Chinese began on the eve of 1699 when the Court of France held a Chinese festival to commemorate the coming new year. The term “chinoiserie” was coined at this time and so began the West’s great desire for all things Chinese. This interest included porcelain, artwork, furniture and ceramics and then extended to gardening.
    [Show full text]
  • Regional Oral History Office University of California the Bancroft Library Berkeley, California
    Regional Oral History Office University of California The Bancroft Library Berkeley, California Terese Tse Bartholomew THE ASIAN ART MUSEUM ORAL HISTORY PROJECT Interviews conducted by Martin Meeker in 2013 Copyright © 2013 by The Regents of the University of California Since 1954 the Regional Oral History Office has been interviewing leading participants in or well-placed witnesses to major events in the development of Northern California, the West, and the nation. Oral History is a method of collecting historical information through tape-recorded interviews between a narrator with firsthand knowledge of historically significant events and a well-informed interviewer, with the goal of preserving substantive additions to the historical record. The tape recording is transcribed, lightly edited for continuity and clarity, and reviewed by the interviewee. The corrected manuscript is bound with photographs and illustrative materials and placed in The Bancroft Library at the University of California, Berkeley, and in other research collections for scholarly use. Because it is primary material, oral history is not intended to present the final, verified, or complete narrative of events. It is a spoken account, offered by the interviewee in response to questioning, and as such it is reflective, partisan, deeply involved, and irreplaceable. ********************************* All uses of this manuscript are covered by a legal agreement between The Regents of the University of California and Terese Tse Bartholomew dated August 14, 2013. The manuscript is thereby made available for research purposes. All literary rights in the manuscript, including the right to publish, are reserved to The Bancroft Library of the University of California, Berkeley. Excerpts up to 1000 words from this interview may be quoted for publication without seeking permission as long as the use is non-commercial and properly cited.
    [Show full text]
  • Teachers' Guide for Painting
    Painting TO THE TEACHER OBJECTIVES OF THIS UNIT: To introduce students to one of the major Chinese arts. To raise questions about what we can infer from paintings about social and material life. To introduce the distinction between court and scholar painting and allow discussion of the emergence of landscape as a major art form. TEACHING STRATEGIES: This unit can be taught as a general introduction to Chinese painting or the two main subsections can be taught independently, depending on whether the teacher is more interested in using painting to teach about other things or wants to discuss painting itself as an art. WHEN TO TEACH: In a chronologically-organized course, Painting should not be used before the Song period, as most of the examples in this unit are from the Song and Yuan dynasties. If both Calligraphy and Painting are used, Calligraphy should precede Painting, as it provides valuable information on social and aesthetic values which informed the study, evaluation, and collecting of both types of works of art. This unit would also be appropriate in a course on Chinese art. http://depts.washington.edu/chinaciv/painting/tptgintr.htm (1 of 3) [11/26/2001 10:59:00 AM] Painting We know from textual and archaeological sources that painting was practiced in China from very early times and in a variety of media. Wall paintings were produced in great numbers in the early period of China's history, but because so little early architecture in China remained intact over the centuries, few of these large-scale paintings have survived.
    [Show full text]
  • New Publications Daoism & Zen Latest Acquisitions
    HANSHAN TANG BOOKS • L IST 150 NEW PUBLICATIONS DAOISM & ZEN LATEST ACQUISITIONS H ANSHAN TANG B OOKS LTD Unit 3, Ashburton Centre 276 Cortis Road London SW 15 3 AY UK Tel (020) 8788 4464 Fax (020) 8780 1565 Int’l (+44 20) [email protected] www.hanshan.com CONTENTS N EW & R ECENT P UBLICATIONS / 3 D AOISM & Z EN / 3 F ROM O UR S TOCK / 16 S UBJECT I NDEX / 64 T ERMS The books advertised in this list are antiquarian, second-hand or new publications. All books listed are in mint or good condition unless otherwise stated. If an out-of-print book listed here has already been sold, we will keep a record of your order and, when we acquire another copy, we will offer it to you. If a book is in print but not immediately available, it will be sent when new stock arrives. We will inform you when a book is not available. Prices take account of condition; they are net and exclude postage. Please note that we have occasional problems with publishers increasing the prices of books on the actual date of publication or supply. For secondhand items, we set the prices in this list. However, for new books we must reluctantly reserve the right to alter our advertised prices in line with any suppliers’ increases. P OSTAL C HARGES & D ISPATCH United Kingdom: For books weighing over 700 grams, minimum postage within the UK is GB £8.50. If books are lighter and we are able to charge less for delivery, we will do so.
    [Show full text]
  • Fruits and Flowers for the Chinese New Year
    Mandarin Orange Year’s gifts for one’s friends. Mandarin oranges are type of resistance to the elements is admired by (Gut, Citrus reticulata) used as a “return” gift when one is given a New the Chinese. As a result, this motif reigns foremost FRUITS AND Year present. among the botanical motifs of China. Piles of oranges and mandarin oranges with leaves As individual plants, the rugged pine is a symbol attached go on sale in the weeks before the New Pomelo of nobility and venerability. As a longevity symbol, FLOWERS Year in San Francisco. Both oranges and manda- (You, Citrus grandis) the pine is often shown with the crane. The bamboo rin oranges are round golden fruits surrounded by with its straight exterior and hollow culm symbol- FOR THE emerald leaves. Their shape and color symbolize The green pomelo, which becomes yellow when izes humility and fidelity. It has integrity for it bends the sun and connect with the yang principle, which ripe, is a common sight in the shops of Chinatown in the storm but does not break. The plant is closely CHINESE represents the positive element and generative before the new year. It associated with the everyday life of the Chinese force in nature. Thus oranges are considered aus- is a delicious fruit, and because so many household objects are made picious fruits and important symbols for the New the rind can be used in of bamboo. Su Dongpo, the famous poet of the NEW YEAR Song dynasty, remarked Year. Chinese cooking. The by Terese Tse Bartholomew Flower markets offer potted plants full of these Chinese believe it is that he would rather go lovely golden fruits, ideal for indoor decoration.
    [Show full text]
  • Ming China: Courts and Contacts 1400–1450
    Ming China: Courts and Contacts 1400–1450 Edited by Craig Clunas, Jessica Harrison-Hall and Luk Yu-ping Publishers Research and publication supported by the Arts and The British Museum Humanities Research Council Great Russell Street London wc1b 3dg Series editor The Ming conference was generously supported by Sarah Faulks The Sir Percival David Foundation Percival David Foundation Ming China: Courts and Contacts 1400–1450 Edited by Craig Clunas, Jessica Harrison-Hall This publication is made possible in part by a grant from and Luk Yu-ping the James P. Geiss Foundation, a non-profit foundation that sponsors research on China’s Ming dynasty isbn 978 0 86159 205 0 (1368–1644) issn 1747 3640 Names of institutions appear according to the conventions of international copyright law and have no other significance. The names shown and the designations used on the map on pp. viii–ix do not imply official endorsement Research and publication supported by Eskenazi Ltd. or acceptance by the British Museum. London © The Trustees of the British Museum 2016 Text by British Museum staff © 2016 The Trustees of the British Museum 2016. All other text © 2016 individual This publication arises from research funded by the contributors as listed on pp. iii–v John Fell Oxford University Press (OUP) Research Fund Front cover: Gold pillow end, one of a pair, inlaid with jewels, 1425–35. British Museum, London (1949,1213.1) Pg. vi: Anonymous, The Lion and His Keeper, Ming dynasty, c. 1400–1500. Hanging scroll, ink and colours on silk. Image: height 163.4cm, width 100cm; with mount: height 254.2cm, width 108cm.
    [Show full text]
  • Chinese Art 2. the Song Dynasty
    Chinese Art 2. The Song Dynasty Pinyin spelling mostly approximates to English pronunciation apart from, notably, Q = “ch” in cheap. X =”sh” in sham. Zh = “j” in jasmine. Z = “ds” hands. C = “ts” as in tsar. Names are given with surnames first Contents Buddhist Religious Art ......................................................................................................................................... 3 Chan Buddhist Painting ....................................................................................................................................... 6 Court Painting ......................................................................................................................................................... 9 Northern Song Landscapes .............................................................................................................................. 12 Guan Tong (also spelled Kuan T’ung, c 906 – 960) ................................................................................. 13 Li Cheng (919-967) ........................................................................................................................................ 13 Fan Kuan (c960-1030) .................................................................................................................................. 14 Guo Xi (also spelled Kuo Hsi, c 1020 - 1090) ........................................................................................... 15 Southern Song landscapes ..............................................................................................................................
    [Show full text]
  • Plants in East Asian Culture
    Many East Asian plants found on the KU campus have a rich history in the art and literature from where they originated. Click on the name of each botanical below to learn more. Cherry tree Crabapple Gingko/Maidenhair Tree Hibiscus Juniper Lilac Magnolia Maples Mulberry Pear Pine Plum Poplar Quince Tea Leaves Weeping Willow The Nelson-Atkins Museum of Art in nearby Kansas City houses one of the best Asian art collections in the United States. Consider a visit to personally see masterpieces featuring Asian botanicals. The Nelson-Atkins Museum of Art | Chinese Art Collection | Japanese Art Collection | South and Southeast Asian Art Collection Back to East Asian Plants Plants in East Asian Culture Cherry Tree Japanese Flowering Cherry, Prunus serrulata Cambridge or Chinese cherry, Prunus pseudocerasus Cherry Blossom Culture in Japan The cherry blossom, sakura, is the unofficial national flower of Japan, a beloved symbol of spring and renewal celebrated in painting, poetry, songs, and many other arts. Countless cherry trees of many different varieties decorate cities and parks all across the country. Viewing parties celebrate the arrival of the cherry blossoms. The custom of cherry-blossom viewing, called hanami, is accompanied by food, drink, singing, and general merriment. A special vocabulary developed to describe viewing the blossoms under particular circumstances; hanamizake refers to drinking sake while viewing the blossoms, sakuragari (cherry blossom hunting) to seeking the blossoms in the mountains; ozakura (cherry blossoms of night) to viewing the blossoms in the evening; and sakura fubuki (cherry blossom storm) to the petals scattered like snow by the wind. The cherry trees in bloom on the banks of the Kamogawa River are among of the most beautiful sights of Kyoto, but the ancient capital boasts a number of famous hanami locations: Maruyama Park, next to Yasaka Shrine; Philosopher's Trail, starting at Ginkakuji Temple; Heian Shrine; Okazaki Canal, outside Heian Shrine; Arashiyama; Daigoji Temple; and Hirano Shrine.
    [Show full text]
  • Three Treasures of Chinese Culture: Chinese Painting. Chinese Opera
    Three Treasures of Chinese Culture: Chinese Painting. Chinese Opera. Chinese Medicine. 1. Polina Lemenkova 2. Soonvilerth Phonesaly 3.Phetphanthong Sommali 4.Fang Xin 5.Honew Shwe Traditional Chinese painting Painting and calligraphy are of the same origin and are regarded as two treasured arts in China. They are both liked with free movement and distribution of lines in expression . Together with music and chess, they formed the four skills for a learned scholar to pursue in ancient China. They have also been held as a good exercise to temper one’s character and cultivate one’s personality. HISTORY OF CHINESE PAINTING Chinese painting has a long history and excellent tradition. Through thousands of years, it has developed its own style, its own techniques, and a complete system of art which expresses the aesthetics of the nation. Through its unique style and features, it has established supremacy in the world of art. Chinese painting emphasizes the point that “Inspiration comes from close observation and understanding of Nature.” Traditional Chinese painting is the art of painting on a piece of Xuan paper or silk with a Chinese brush that was soaked with black ink or colored pigments. It is regarded as one of the three “quintessence of Chinese culture” THE CHARACTER OF CHINESE PAINTING The character of Chinese painting is closely bound up with the nature of the medium. The basic material is ink, but Chinese ink is a wonderful substance capable of an immense range and an extraordinary beauty of tone. The painter uses a pointed-tipped brush made of hair of goats, deer, or wolves set in a shaft of bamboo.
    [Show full text]
  • Meihua Is the Flower of an Asian Tree - White, Pink, and Red
    Meihua is the flower of an Asian tree - white, pink, and red. The tree is cultivated Prunus mume, a species of the genus in various gardens throughout East Asia, Prunus, section armeniaca. Is known as for its fruit and flowers, with culinary and Chinese plum, although is more closely medicinal uses, and also as an ornamental related to the apricot. tree. This flower is a beloved subject in the traditional culture of East Asia. Prunus mume originated in the south of China around the Yangtze River and was later introduced to Taiwan, Korea, Vietnam, Laos, and Japan. It can be found in sparse forests, stream sides, forested slopes along trails and mountains, sometimes at altitudes up to 1700 to 3100 meter, and regions of cultivation. As the plum tree can usually grow for a The tree that starts flowering in mid- long time, ancient trees are found winter, typically around January or throughout China. Huangmei county in February in East Asia. It can grow to 4–10 Hubei province features a 1,600-year-old meters tall. The flowers are 2-2.5 cm in plum tree from the Jin Dynasty which is diameter and have a strong fragrant scent. still flowering. They have colors in varying shades of Cultural significance Plum blossoms have been well loved and celebrated in mainland China, Taiwan, Korea, Japan, and Vietnam. “Clustering Chinese Plum Blossoms” by Chen Xianzhang (陳獻章; 1428–1500) of the Ming Dynasty (1368– 1644); Hunan Provincial Museum collection, China. Meihua is one of the most beloved flowers Because it blossoms in the cold winter, the in China and has been frequently depicted plum blossom is regarded as one of the in Chinese art and poetry for centuries.
    [Show full text]
  • The Language and Iconography of Chinese Charms Deciphering a Past Belief System 1St Edition Pdf, Epub, Ebook
    THE LANGUAGE AND ICONOGRAPHY OF CHINESE CHARMS DECIPHERING A PAST BELIEF SYSTEM 1ST EDITION PDF, EPUB, EBOOK Alex Chengyu Fang | 9789811017919 | | | | | The Language and Iconography of Chinese Charms Deciphering a Past Belief System 1st edition PDF Book For instance, the Christian notion of the Holy Trinity God, Jesus, Holy Spirit defies the definition of monotheism , which is a religion based on belief in a single deity, to some scholars. By the second century C. Study sessions and training activities at the European Youth Centre regularly include organisations such as:. Fu Lu Shou refers to the three gods who embody these concepts. Retrieved: 13 July Hopefulness and courageousness; the Chinese five blessings plum blossom petals []. During the final century or so of the Warring States period, some of the dukes began calling themselves kings wang , usurping the title reserved for the central monarch under the Zhou system. Centre for Companion Animal Health. Published: Monday, 23 November Local traditions and loyalties were still strong, however, and Qin rule remained precarious. The head of an axe is considered to be one of the Twelve Ornaments of imperial China. In the case of these coins, "charm" in this context is a catchall term for coin- shaped items which were not official or counterfeit money. After the emperor died in he was replaced by a son who proved unequal to the task. If they become indolent, corrupt, and cruel, the "mandate of Heaven" can be transferred to another line. The association of Chinese characters into new and mystical forms added hidden symbolism. The ethics and rituals described are recognizably Christian.
    [Show full text]
  • Symbolic Meanings of Chinese Porcelains from the Market Street
    Siliang Kang, June 7, 2013 Symbolic Meanings of Chinese Porcelains from the Market Street Chinatown ABSTRACT What does a porcelain bowl painted with bamboo mean to a Chinese immigrant in America? Does it mean something special to the person who crossed the ocean and made his living by himself on an unfamiliar continent? This paper argues for a cultural aspect of the Chinese porcelains from the Market Street Chinatown collection. Other than food- serving utensils and decorative artifacts, the porcelains have a third symbolic function because of the various but limited decorative patterns on them. Re-interpretation and analysis of the components of each decorative pattern as well as their symbolic meanings will be presented in detail. Porcelains from the Market Street Chinatown Currently, there are two major unsolved problems in the study of Asian porcelains (especially Chinese porcelains) of the overseas Chinese communities. In the first place, scientific measurements and classifications as well as chemical analyses have been done, so that we know the physical features and manufacturing techniques of these Asian wares. But on the other hand, we still do not know much about the objects themselves: from which part of China specifically did they originally come from, why did the Chinese merchants select these specific porcelains, what information did the various but limited 1 decorative patterns on them convey to us? Mueller in his study has given a brief introduction of the patterns and forms of the Asian porcelains from the Riverside Chinatown in California, and has talked about some of the symbolism of the Chinese porcelains, which is a forerunner of this study.
    [Show full text]