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Ceramics and Enamels S3 Book of Abstracts S3 Te arts of the fre: Ceramics and Enamels S3/1 (in Sima Guang’s 司馬光 Zīzhì Tōngjiàn Béatrice WISNIEWSKI 資治通鑑– 1084 A.D. - and in Sanguo (Ecole Pratique des hautes Etudes) zhi 三國志 [Te Chronicle of the Tree Te question of written sources in Kingdoms] - 220-280 A.D.). We propose studying ceramic traditions of here to describe these missing links in the ancient Vietnam Vietnamese sources and initiate the analysis of secondary sources providing the most Te more we go back in time, the more relevant information on the evolution of ancient Vietnamese sources become scarce the ceramic traditions of Vietnam from the and lose diversity. Te language was frst late frst millennium until the 18th century. written relatively late, probably around the late 13th century and early 14th, through S3/2 the system of Chinese characters, in the complex form of the nôm. Tus, the frst ZHAI Yi (Laboratoire d’Archéologie Médiévale et references to the Viet territory appear in Moderne en Méditerranée) Chinese narratives (Yuanhe junxian zhi 元 和郡縣志 - 812 or 814 A.D., Jiu Tang shu Persian Savants’ Opinion about 舊唐書 - 936-946 A.D., Taiping huanyu ji Ancient Chinese Stoneware 太平寰宇記- 976-984 A.D.). Much of the It is well accepted that certain techniques information we have on geography, crafs in Islamic ceramic are inspired by Chinese or customs of ancient Vietnam, comes from white stoneware. Te opaque white glazed these sources. Te data are ofen limited ware, invented during the 9th to 11th to geography or dynastic history, military centuries, imitated the Chinese white facts and the large undertakings of the stoneware of the Xing type. Later on, State. We learn about diplomatic relations another accomplishment, the fritware, with and battles as well as resources of the not only a white surface but also a whole country through trade notes and embassies. white body similar to the white porcelain of For earlier periods, it is difcult to fnd, the Ding type, was frst produced in Egypt in these texts, information, even remote, or West Asia at least in the 12th century. on the craf of ceramics. Te inventory of Terefore, it is interesting to study written sources on this subject reveals their how Islamic crafsmen understood the weakness. Tere are, however, sources, that Chinese pottery. Fortunately, clues can can be described as secondary, ofering be found in the works of a few medieval some perspectives, such as inscriptions on Persian savants. Te Kitâb al-Jamâhir f al- pieces, on steles posted near by the temples Jawâhir (Te Book Most Comprehensive in dedicated to the guardian spirits of pottery Knowledge on Precious Stones), completed villages or, for the frst millennium, the by Abū Rayḥān Bīrūnī in 1035 A.D. and sources of Chinese ofcials concerning the Jowhar-nāme-ye Nezâmi (the book variations of goods taxation between the of jewels for Nezâmi) of Mohammad al- south of China and the Red River Delta Jowhari al-Neyshâpuri, dated to 1196, 14th ICHSEA, 6-10 July 2015 - Paris 191 S3 Te arts of the fre: Ceramics and Enamels literally mentioned “Chinese porcelain” China. Dehua is surrounded by mountain in the text. Moreover, the famous treatise and water, rich in porcelain stones, has a about ceramic fabrication of Abu al-Qâsem convenient transportation, and has been Kâshâni in his Arâyes al-javâher va nafâyes a famous ceramics making area in south al-atâyeb (Te Spouses of Jewels and the China. As far back as the Neolithic Period, Wealth of Drugs), dated September 1300 people in Dehua already knew how to make A.D., contains information about the hard pottery. Porcelain making in Dehua fritware. Considered as representatives of started in the Tang Dynasty (618-907 knowledge at that time, these works can A.D.), a book named Tao Ye Fa 陶业法 on help us understand why the development porcelain making technology was handed of Islamic pottery took a diferent route down. Dehua porcelains began to be than the Chinese counterpart. exported abroad in large quantities in the Al-Bīrūnī’s main opinion about the Song Dynasty (960-1279 A.D.) and Yuan “Chinese porcelain” followed by Al- Dynasty (1279-1368 A.D.) to Southeast Asia Neyshâpuri covers the following three kinds and the Middle East along the Marine Silk of content: the materials, the processes of Road. Dehua white porcelain production fabrication, and the fnal potteries. Based reached its climax in the Ming Dynasty on their knowledge about Iranian pottery (1368-1644 A.D.), when a large varieties they described their understanding about of Dehua white wares were exported to Chinese porcelain. By analyzing these Europe, called blanc de chine by the French. details, we draw two conclusions. First, Blanc de chine is the masterpiece of Dehua some processes of fabrication are shared by white ware with an ivory white tone, a both the Iranian and the Chinese crafsmen, translucent body and superb shaping and for example crushing and purifying the sculpture workmanship, thus ofen called primary material, stamping the paste and as “lard white” or “ivory white”. In the its importance. Tese commonalities stem Qing Dynasty (1644-1911 A.D.), blue and from the common human conscience of the white wares became the main export item old art of fre. Second, on the other hand, of Dehua kiln, thus the output and quality the view of “tîn al-sînya” (clay from China), of white porcelains declined dramatically. considered as a kind of the purest quartz, Te production of Dehua porcelain presents an ignorance of the importance always catered to the demand of overseas of highly fred clay in the Islamic world. market, accordingly the development and Tis diverged understanding of material fourish of Dehua porcelain has always constitutes the main diference between the been closely related to the export trade. porcelain body and the fritware’s body. Over 200 kiln sites from the Song to Qing Dynasties have been discovered within the S3/3 scope of Dehua county. Archaeological LI Weidong excavations were carried out on fve Dehua (Shanghai Institute of Ceramics, Chinese kiln sites. In this study, white porcelain Academy of Sciences) samples excavated from Wanpinglun, Te Evolution of Porcelains from the Qudougong, Zulonggong, Jiabeishan Dehua Kiln Site of Ancient China and Xingjiao kiln sites were analyzed Dehua 德化 county is located in central to investigate chemical compositions, Fujian Province on the southeast coast of microstructures, fring techniques and physical properties of the white porcelains 192 14th ICHSEA, 6-10 July 2015 - Paris S3 Book of Abstracts of the Song, Yuan, Ming, Qing Dynasties, might have been developed in diferent trying to reveal the development and contexts, but the most critical cause of evolution regularity of Dehua white their appearance was the revolutionary porcelains. transformation of palette. Tis revolution and the development it caused is the most S3/4 important milestone in the development SHIH Chingfei of the Qing ceramic industry and Chinese (Graduate Institute of Art History, overglazed ware. National Taiwan University) Secondly, I would like to expand Te Early Modern Revolutionary the discussion to a global issue as this Transformation of Colour Palettes: phenomenon was not only happened Qing Overglazed Enamelware as an in China (Beijing, Jingdezhen and Example Guangzhou) but also happened at least Tis paper aims to discuss a phenomenon in Europe and Japan and likely in other of changes of colour palettes happened in regions around the same time. As I diferent regions around the same time (17- mentioned earlier that the transformation 18th centuries). Tis phenomenon involves of palette incorporates introduction of new two main aspects: frst, it is crossmaterial, ingredients, painting and fring techniques, involving at least glass, painted enamelware and even kiln types, these new elements and ceramics makings; second, it is inter- mainly derived from Europe contemporary regional and very likely the changes in experiments in new colour palette and was diferent regions mutually inspired each adopted in Beijing, Jingdezhen and Canton other and all contributed their parts to this among Qing Empire. Te workshops in revolution of global colour palettes. Due those regions all developed new colour to the scale limit of this present paper, I palettes based on their existed palette and will focus on the case of Qing overglazed made eforts to invent or to exchange new enamelware of 18th century and provide ingredients and new colours with other a detailed context of its development as a regions in China and elsewhere overseas to base for further studies on the topic. improve their colour palette in a context of I frst reemphasizes the most important global revolution on colours. development of Qing overglazed enamelware is the transformation from S3/5 the palette of traditional mineral glazes Wai Yee Sharon WONG to enamel pigments. Tis transformation (Department of Anthropology, Te involved not only the new visual styles and Chinese University of Hong Kong) glaze ingredients that scholars have already Pre-Industrial Globalisation: Case identifed, but also a systematic change in Study of Canton Enamel Production overglaze technology that included the in Hong Kong introduction of new ingredients, painting In O.W. Wolters “History, Culture, and and fring techniques, and kiln types. Te Region in Southeast Asian Perspectives”, falangcai ware that was enameled in the he proposed the term “local cultural Imperial Workshops in Beijing, the yangcai statement” to explain foreign and local ware enameled in the Imperial Kiln in elements ftting in one or various ways into Jingdezhen, and the fencai ware enameled new contexts through the localizing process by commercial kilns in Jingdezhen and rearticulating with their local cultures. 14th ICHSEA, 6-10 July 2015 - Paris 193 S3 Te arts of the fre: Ceramics and Enamels Canton enamel, which was called “foreign porcelain” in China, its painted enamel techniques were probably introduced by French in the 18th Century.
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