Local Structures and Electronic Band States of Α−Fe O Polycrystalline
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'A Mind to Copy': Inspired by Meissen
‘A Mind to Copy’: Inspired by Meissen Anton Gabszewicz Independent Ceramic Historian, London Figure 1. Sir Charles Hanbury Williams by John Giles Eccardt. 1746 (National Portrait Gallery, London.) 20 he association between Nicholas Sprimont, part owner of the Chelsea Porcelain Manufactory, Sir Everard Fawkener, private sec- retary to William Augustus, Duke of Cumberland, the second son of King George II, and Sir Charles Hanbury Williams, diplomat and Tsometime British Envoy to the Saxon Court at Dresden was one that had far-reaching effects on the development and history of the ceramic industry in England. The well-known and oft cited letter of 9th June 1751 from Han- bury Williams (fig. 1) to his friend Henry Fox at Holland House, Kensington, where his china was stored, sets the scene. Fawkener had asked Hanbury Williams ‘…to send over models for different Pieces from hence, in order to furnish the Undertakers with good designs... But I thought it better and cheaper for the manufacturers to give them leave to take away any of my china from Holland House, and to copy what they like.’ Thus allowing Fawkener ‘… and anybody He brings with him, to see my China & to take away such pieces as they have a mind to Copy.’ The result of this exchange of correspondence and Hanbury Williams’ generous offer led to an almost instant influx of Meissen designs at Chelsea, a tremendous impetus to the nascent porcelain industry that was to influ- ence the course of events across the industry in England. Just in taking a ca- sual look through the products of most English porcelain factories during Figure 2. -
Antique Store Auction (417)
09/29/21 04:57:26 Antique Store Auction (417) Auction Opens: Mon, Mar 29 8:00am PT Auction Closes: Wed, Apr 7 6:07pm PT Lot Title Lot Title 0100 LISA LAMONTHE Signed Native American 0129 Antique Wood Fishing Tackle Box Clay Sculpture Art 0130 Antique Crock Pot 0101 Vintage Clay Pottery Vase Hand Painted 0131 Star Wars Galactic Heroes Figurines collection 0102 Vintage McCoy Teapot with Lid NIB 0103 McCoy Pottery Canyon Bowl 0132 Southwest Artist Signed Pottery 0104 Beaded Iguana Pottery Art 0133 Vintage Poker Chips and Tray 0105 Vintage Asian Apothecary Box 0134 Vintage CARNIVAL GLASS Dishes 0106 Vintage Japanese Tanuki Racoon Dog Incense 0135 Vintage 1973 WALT DISNEY Spinning Top Burner Sculpture Toy 0107 Vintage Barney Rubble FLINSTONES Toy 0136 Vintage Tin Toy Ducks on Wheels, Japan 0108 Vintage Ceramic Majolica Cockatoo Pitcher 0137 Vintage Tin Toys 0109 Vintage Mickey Mouse WALT DISNEY 0138 Vintage Glazed Pottery Bowls Jewelry Music Box 0139 Vintage Cast Iron Dentist Bank 0110 Retro Mickey Mouse Radio Watch 0140 Vintage Signed L.D. Smith Bronze Coyote 0111 Japanese Geisha Ware Ceramic Pitcher Tea Desert Bookend Carafe 0141 Ceramic Jester Figurine 0112 Vintage VernonWare Carafe 0142 Vintage Golfer Bookends 0113 Vintage Depression Glass Compote and 0143 Two Vintage Wood Sewing Machine Drawers Condiment Dishes 0144 Vintage Wind Up Music Box Thorens 0114 Miniature Guatemalan Paper Mache Masks Movement 0115 Old School Snoopy Bank 0145 Vintage Glass Paper Weight Seal 0116 Mid Century Style Desk Clock 0146 Comey's Sherlock Holmes Ceramic -
Vocabulary: Koryo Open Work Design Celadon Glaze Korean Celadon: Cheong-Ja Buddhism Leatherhard Clay Sanggam: Inlaid Design Symbols
Lesson Title: Koryo (12-13th Century) Celadon Pottery and Korean Aesthetics Class and Grade level(s): High School and/or Junior High Art Goals and Objectives: The student will be able to: *identify Korean Koryo Celadon pottery as an original Korean Art form. *understand that the Korean aesthetic is rooted in nature. *utilize design elements of Koryo pottery in their own ceramic projects. Vocabulary: Koryo Open work design Celadon Glaze Korean Celadon: Cheong-ja Buddhism Leatherhard clay Sanggam: Inlaid Design Symbols 12th century Unidentified, Korean, Koryo period Stoneware bowl with celadon glaze. This undecorated ceramic bowl with incurving rim replicates the form of metal alms bowls carried by Buddhist monks for receiving food offerings from devotees. The ceramic version was probably used for the same purpose and would have been a gift to a monastery from a noble patron. Primary source bibliography: Freer collection celadon images: http://www.asia.si.edu/collections/korean_highlights.asp News: Koryo Pottery Was Headed for Kaesong http://english.chosun.com/site/data/html_dir/2007/10/12/2007101261013.html History http://search.freefind.com/find.html?id=70726870&pageid=r&mode=all&n=0& query=korea+history Korean History and Art Sites http://search.freefind.com/find.html?oq=korea+art&id=70726870&pageid=r&_c harset_=UTF- 8&bcd=%C3%B7&scs=1&query=korea+art&Find=Search&mode=ALL&searc h=all Other resources used: A Single Shard by Linda Sue Park; Scholastic Inc., copyright 2001 http://www.lindasuepark.com/books/singleshard/singleshard.html Required materials/supplies: Clay studio tools, White clay, Celadon glaze, White and black slip Procedure: Introduction: Korean Koryo Celadon (Cheong-ja) Ceramics Korean pottery dates back to the Neolithic age. -
(B. 1948) Kamada Kōji Is Known for His Mastery of the Difficult Tenmoku
KAMADA KŌJI (b. 1948) Kamada Kōji is known for his mastery of the difficult tenmoku (rabbit’s hair) glaze, a technique that originated in 10th century Song Dynasty China and entered Japan during the Muromachi period two centuries later. Kamada has revitalized the technique by applying the traditional glaze to his modernized, but still functional, teaware that challenge the concepts of balance and presence. His works serve as an updated canvas for these established glaze techniques, allowing form and glaze to beautifully complement one another. 1948 Born in Kyoto 1968 Trained in Gojōzaka with Shimizu Tadashi 1971 Graduated from Kyoto Ceramics Training School, became an instructor Began his study of tenmoku glazes 1973 Entered the 2nd Japan Craft Association, Kinki District 1976 Became an official member of the Japan Craft Society 1977 Resigned as instructor for the Kyoto prefectural government and began concentrating exclusively on creating ceramics 1982 With the closing of the public Gojōzaka kiln, he acquired his own gas kiln 1988 Studied under National Living Treasure, Shimizu Uichi 1990 Became an official member of Japan Sencha (Tea) Craft Association 2000 Juror for Nihon dentō kogeiten (Japan Traditional Crafts Exhibition) Awards: 1987 Kyoto Board of Education Chairperson's Award, the 16th Japan Craft Association Exhibition Kinki District Selected Solo Exhibitions: 1978 Osaka Central Gallery (also '79 and '80) 1980 Takashimaya Art Gallery, Kyoto (eight more shows through ‘03, then ‘13) 1984 Takashimaya Art Gallery, Nihonbashi, Tokyo -
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. -
01-32 Errol Manner Pages
E & H MANNERS E & H MANNERS A Selection from THE NIGEL MORGAN COLLECTION OF ENGLISH PORCELAIN THE NIGEL MORGAN COLLECTION THE NIGEL MORGAN E & H MANNERS E & H MANNERS A Selection from THE NIGEL MORGAN COLLECTION of ENGLISH PORCELAIN incorporating The collection of Eric J. Morgan and Dr F. Marian Morgan To be exhibited at THE INTERNATIONAL CERAMICS FAIR AND SEMINAR 11th to the 14th of JUNE 2009 Catalogue by Anton Gabszewicz and Errol Manners 66C Kensington Church Street London W8 4BY [email protected] www.europeanporcelain.com 020 7229 5516 NIGEL MORGAN O.A.M. 1938 – 2008 My husband’s parents Eric J. Morgan and Dr Marian Morgan of Melbourne, Australia, were shipwrecked off the southernmost tip of New Zealand in 1929 losing everything when their boat foundered (except, by family legend, a pair of corsets and an elaborate hat). On the overland journey to catch another boat home they came across an antique shop, with an unusual stock of porcelain. That day they bought their first piece of Chelsea. They began collecting Oriental bronzes and jades in the 1930s – the heady days of the sale of the dispersal of the Eumorfopoulos Collections at Bluett & Sons. On moving to England in the 1950s and joining the English Ceramic Circle in 1951, their collecting of English porcelain gathered pace. Nigel, my husband, as the child of older parents, was taken around museums and galleries and began a life-long love of ceramics. As a small boy he met dealers such as Winifred Williams, whose son Bob was, in turn, a great mentor to us. -
Kraak Porcelain
Large Dishes from Jingdezhen and Longquan around the World Dr Eva Ströber Keramiekmuseum Princessehof, NL © Eva Ströber 2010 Cultures of Ceramics in Global History, 1300-1800 University of Warwick, 22-24 April 2010 Global History Arts & Humanities & Culture Centre Research Council http://www2.warwick.ac.uk/fac/arts/history/ghcc/research/globalporcelain/conference Large Dishes from Jingdezhen and Longquan around the World The talk will be about the huge success of a type of Chinese porcelain the Chinese themselves had indeed no use for: large serving dishes, large meaning more than 35 cm in diam. The most common blue and white type was made in Jingdezhen, the Celadon type in the Longquan kilns in Southern Zhejiang and Northern Fujian. Another type of large dishes, the Zhangzhou type, was produced in the kilns of Zhangzhou, Fujian. The focus will be on three markets these oversized dishes were made for: the Muslim markets of the Middle East, particularly Persia, Turkey and the Mughal empire, SE Asia including what is now Indonesia, and Japan. By miniatures, drawings, paintings or old photographs it will be illustrated, how these large Chinese dishes were used in a non Chinese social and cultural context. The Chinese Bowl The Chinese themselves, as can be seen on the famous painting of a literati gathering from the Song – dynasty of the 12th century, dined from rather small sized tableware. The custom to eat from small dishes and particularly from bowls started in the Song dynasty and spread to many countries in SE Asia. It has not changed even to this very day. -
Stoneware Tea Bowl. Chun Glaze. Chun Interior. Height 7.6Cm, Diameter 11Cm
PS1 - Stoneware tea bowl. Chun glaze. Chun interior. Height 7.6cm, diameter 11cm. SOLD PS1 PS2 - Stoneware tea bowl. Titanium glaze over tenmoku. Tenmoku interior. Height 8.7cm, diameter 9.7cm. £45.00 PS2 PS3 - Stoneware tea bowl. Tenmoku glaze with ilmenite decoration. Chun interior. Height 9.2cm, diameter 9.6cm. SOLD PS3 PS4 - Stoneware tea bowl. Copper red glaze. Chun interior. Height 8.6cm, diameter 10cm. SOLD PS4 PS5 - Stoneware tea bowl. Tenmoku glaze. Chun interior. Height 9.7cm, diameter 8.6cm. SOLD PS5 PS6 - Porcelain tea bowl. Jade green glaze. Copper red interior. Height 6.6cm, diameter 11cm. SOLD PS6 PS7 - Stoneware tea bowl. Copper red glaze with ilmenite decoration. Chun interior. Height 9.6cm, diameter 8.5cm. £45.00 PS7 PS8 - Porcelain tea bowl. Layered chun and tenmoku glaze. Tenmoku interior. Height 8.4cm, diameter 9.3cm. SOLD PS8 PS9 - Stoneware tea bowl. Titanium glaze over tenmoku. Tenmoku interior. Height 7cm, diameter 11.7cm. £45.00 PS9 PS10 - Stoneware tea bowl. Celadon and copper red glaze. Celadon interior. Height 9.3cm, diameter 8.5cm. £45.00 PS10 PS11 - Stoneware tea bowl. Incised titanium glaze over tenmoku glaze. Tenmoku interior. Height 8.8cm, diameter 11.2cm. SOLD PS11 PS12 - Porcelain tea bowl. Copper red glaze with ilmenite decoration. Chun interior. Height 7.5cm, diameter 9.5cm. £45.00 PS12 PS13 - Stoneware tea bowl. Unglazed Yixing clay body. Chun interior. Height 7.7cm, diameter 9.7cm. SOLD PS13 PS14 - Stoneware tea bowl. Layered chun and tenmoku glaze. Tenmoku interior. Height 9.4cm, diameter 9.2cm. SOLD PS14 PS15 - Stoneware tea bowl. -
Comparative Study of Black and Gray Body Celadon Shards Excavated from Wayaoyang Kiln in Longquan, China
Microchemical Journal 126 (2016) 274–279 Contents lists available at ScienceDirect Microchemical Journal journal homepage: www.elsevier.com/locate/microc Comparative study of black and gray body celadon shards excavated from Wayaoyang kiln in Longquan, China Hongying Duan a,b,⁎, Dongge Ji a,b, Yinzhong Ding a,b, Guangyao Wang c, Jianming Zheng d, Guanggui Zhou e, Jianmin Miao a,b a Key Scientific Research Base of Ancient Ceramics (the Palace Museum), State Administration of Cultural Heritage, Beijing 100009, China b Conservation Department, the Palace Museum, Beijing 100009, China c Department of Objects and Decorative Arts, the Palace Museum, Beijing 100009, China d Zhejiang Provincial Cultural Relics Archaeological Research Institute, Hangzhou, Zhejiang 310014, China e The Museum of Longquan City, Longquan, Zhejiang 323700, China article info abstract Article history: Longquan celadon is one of the most valuable treasures in Chinese ceramic history. Representative products are Received 8 August 2015 Ge ware (Ge meaning elder brother, black body celadon) and Di ware (Di meaning younger brother, gray body Received in revised form 12 December 2015 celadon) of the Song Dynasty (960–1279 A.D.). In this study, Ge and Di ware shards excavated from Wayaoyang Accepted 12 December 2015 kiln site in Longquan were collected and studied. Chemical and crystallite composition, microstructure, body and Available online 19 December 2015 glaze thickness, firing temperature and glaze reflectance spectrum were observed and examined. Differences in Keywords: raw materials and manufacturing technology between Ge and Di ware were studied. Based on the results and Longquan Ge ware historical background, it was speculated that some Ge wares from Wayaoyang kiln site might be the test products Longquan Di ware of jade-like black body celadon for the imperial court. -
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. -
Fluted and Faceted Porcelain
Rochester Institute of Technology RIT Scholar Works Theses 5-1-1982 Fluted and faceted porcelain Barbara Greever Follow this and additional works at: https://scholarworks.rit.edu/theses Recommended Citation Greever, Barbara, "Fluted and faceted porcelain" (1982). Thesis. Rochester Institute of Technology. Accessed from This Thesis is brought to you for free and open access by RIT Scholar Works. It has been accepted for inclusion in Theses by an authorized administrator of RIT Scholar Works. For more information, please contact [email protected]. ROCHESTER INSTITUTE OF TECHNOLOGY A Thesis Submitted to the Faculty of The College of Fine and Applied Arts in Candidacy for the Degree of MASTER OF FINE ARTS FLUTED AND FACETED PORCELAIN By Barbara C. Greever May, 1982 APPROVALS Advisor: Robert D. Aelmity Da te: / d ·//· 87- Associate Advisor: Graham Mark Dat e: $.ygZ Gradu ate Academic Cou ncil Rep resentat ;ve; Fred Meyer--''-- --,~ Dat e: / f) 1/..,h ""2 7 Dea n. Co l lege of r ' Fi ne & App l ied Ar ts: Dr. Robert H. Johnston Dat e : D dJ4--- L8. 11ll:L- j I. Bar bara C. Greever , prefer to be contacted each t ime a request for re producti on i s made . I can be reached at the fol 1ow- i ng addre ss . Date :May , 1982 i i CONTENTS I. HISTORICAL BACKGROUND 1 II. AESTHETIC CONCERNS 7 III. TECHNIQUES 10 IV. ASSESSMENT OF THESIS POTS 16 APPENDIX: CLAY AND GLAZE RECIPES 38 BIBLIOGRAPHY 43 in ILLUSTRATIONS 1. Surform Blades 12 2. Pressure Cracks 13 3. Covered Jar Glazed in English Celadon 17 4. -
The Introduction of Celadon Production in North China: Technological Characteristics and Diversity of the Earliest Wares
The Introduction of Celadon Production in North China: Technological Characteristics and Diversity of the Earliest Wares Shan Huang*1, Ian C. Freestone1, Yanshi Zhu2, Lihua Shen2 * Corresponding Author: [email protected] 1 Institute of Archaeology, University College London, 31-34 Gordon Square, WC1H 0PY, London, UK 2 Institute of Archaeology, Chinese Academy of Social Sciences, 27 Wangfujing Avenue, 100710, Beijing, China Abstract Celadon, technically a stoneware with a lime-rich glaze, had been produced in South China for more than two millennia before it was first made in the North in the second half of the sixth century. It appears to have been an immediate precursor to white porcelain, which was first produced by northern kilns. The compositions and microstructures of early northern celadons from kilns, residential sites and tombs in Shandong, Hebei and Henan provinces, and dated 550s-618 CE, have been determined by SEM-EDS. The majority of the vessels were made using a low-iron kaolinitic clay, with high alumina (20-29%), as anticipated for northern clays. A small number of celadon vessels from a kiln at Caocun, which produced mainly lead-glazed wares, have lower alumina contents and appear to have originated in the South. It seems possible that these imported vessels were being used by the potters as models on which Caocun wares were based. Consistent differences in major element composition are observed between the products of kilns at Anyang, Xing, Luoyang and Zhaili. Unlike southern celadon glazes, which were prepared as two-component mixtures of vegetal ash and body clay, the northern celadon glazes are three-component, and typically contained an additional siliceous component, probably loess.