Download This Article in PDF Format
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
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. -
Production and Trade of Porcelain in China, 1000-1500
Production and Trade of Porcelain in China, 1000-1500 Shelagh Vainker Ashmolean Museum, Oxford Email: [email protected] Just as the Song dynasty (960-1279) has been identified by economic historians as a peak after which no significant developments took place, so it is a period of culmination in the manufacture of ceramics. Between the 10th and 12th centuries, green, black or white high- fired wares that had been produced for centuries were made with finer bodies, smoother and more complex glazes and in a greater range of shapes than ever before, and in unprecedented quantities. They also became admired and moreover collected as objects of aesthetic, cultural and monetary value, a practice that had previously been restricted to works of art such as calligraphy and painting, or to the jades and bronze vessels associated with high antiquity and the authority to rule. This was also however the period in which was established China’s most enduring and famous kiln site, Jingdezhen. To that extent the period is not only a technological peak, but a pivotal one during which the centre of the ceramics industry began its shift from north to south China. At the time when the northern kilns were producing pieces for the imperial court and wares that would be adopted into the canon of connoisseur’s collectibles, southern kilns were making pots for everyday local use, and for export. In many instances, these imitated the northern wares in both technology and style; all were part of a country-wide industry with a distribution of manufacturing centres that was unprecedented and has not been repeated, for it is notable that during the pre-eminence of the north in potting, the south was also rich in kiln sites and products, while once the shift south had occurred no significant industry continued in north China. -
Blue-And-White Porcelain Also Known As Porcelain Ware in Underglazed Blue
HONG KONG HERITAGE SERIES MADE IN HONG KONG Blue-and-white Porcelain also known as porcelain ware in underglazed blue www.heritage.gov.hkwww.heritage.gov.hk www.amo.gov.hkwww.amo.gov.hk www.heritage.gov.hk www.cnc.org.hkwww.cnc.org.hk www.amo.gov.hk www.cnc.org.hk Blue-and-white History and culture are not something farfetched. The above picture Porcelain piece shows a blue-and-white porcelain bowl unearthed in Hong Kong. It was originally made in the Wun Yiu Kiln Site at Tai Po. The Wun Yiu Kiln Site was in operation during the Ming and Qing dynasties and the early Republic period. At its height, the kilns pro- duced over 400,000 pieces of porcelain per year, and its products were sold to as far as Malaysia. Today, at the Wun Yiu Exhibition, one can still see these pieces of cultural relics that bore witness to the early cultural and economic developments of Hong Kong. Kaolinite , also named “ porcelain stone ” Kaolinite clay , also named “ porcelain clay ” Both are the main ingredients for making porcelain. They share the same chemical composition of aluminium silicate hydrox- ide, Al2Si2O5(OH)4 , which is a clay mineral. Their difference is that kaolinite is a rock material, while kaolinite clay is the silt formed from weathered kaolinite. In as early as the Neolithic period, the Chinese has been making use of kaolinite clay. Dur- ing the Yuan dynasty, the town of Jingdezhen has already mas- tered techniques to produce blue-and-white porcelain. Kaolinite was first discovered and put into application in China, thus China is regarded as the country which invented porcelain. -
Richard Hensley Spotlight: Cynthia Bringle Technical: Reduction Misnomer
Cover: Richard Hensley Spotlight: Cynthia Bringle Technical: Reduction Misnomer Bailey Gas and Electric Kilns Manual and Programmable ETL Certified Gas Kilns “We love our Bailey AutoFire kiln!” Not just for how good the glazes look, but how easy and reliable it is to fire using the computer. We programmed it to start in the early morning before we arrived, and were done firing before noon. Each firing has looked great! Our Guild appreciates the generous time and support Bailey provided to learn about firing this wonderful kiln and look forward to many more great economical firings! Bailey has filled in so many gaps in our knowledge about gas reduction firing and given us the confidence to fire logically rather than by the “kiln gods”! Canton Ceramic Artists Guild, Canton Museum of Art Bailey “Double Insulated” Top Loaders, have 32% less heat loss compared to conven- tional electric kilns. Revolutionary Design There are over 12 outstanding features that make the Bailey Thermal Logic Electric an amazing design. It starts with the Bailey innovative “Quick-Change” Element Holder System. And there’s much more. Look to Bailey innovation when you want the very best products and value. Top Loaders, Front Loaders, & Shuttle Electrics. ETL Certified Bailey Pottery Equip. Corp., PO Box 1577, Kingston, NY 12402 Professionals Know www.baileypottery.com Toll Free: (800) 431-6067 Direct: (845) 339-3721 Fax: (845) 339-5530 the Difference. 2 march 2016 www.ceramicsmonthly.org www.ceramicsmonthly.org march 2016 3 DIDEM ERTon GL AZINGM IO N T L WAYS use V IBRANAD T OLORS ,C but when I do, I use AMACO VELVET UNDERGL AZES. -
Technical Studies and Replication of Guan Ware, an Ancient Chinese Ceramic
www.mrs.org/publications/bulletin Although an intensive surface survey has uncovered some sherds at Wansongling, no kilns have been found there. However, a kiln site was discovered in 1996 about Technical Studies and 2.5 km away from the Jiaotanxia Guan kiln site at Laohudong (Tiger Cave), a rela- tively inaccessible site in a small, steep valley to the south of Wansongling (see Replication of Guan Figure 2). Since 1998, a 15-m-long dragon kiln and three bisque-firing (first-firing) kilns have been excavated; a large enclo- sure wall has also been found. In total, the Ware, an Ancient 2 excavations have covered about 800 m . A workshop area to the east of the kiln con- tained large vats of raw glaze. A large Chinese Ceramic quantity of glazed sherds, bisque-fired sherds, and kiln furniture, such as setters (supports) and saggars (coarse ceramic Li Jiazhi, Deng Zequn, and Xu Jiming containers for protection of the ware during firing and cooling), have been excavated in the Southern Song stratum. In addition, a later Yuan dynasty (1271–1368 A.D.) stra- Introduction tum that overlies the Southern Song stra- When North China was invaded in 1127, (the imperial kiln) was first established at the emperor of the Song dynasty moved Xiuneisi (the Bureau of the Imperial the capital to Lin’an (now called Hangzhou) Household) near Wansongling (the Forest in Zhejiang Province southeast of Shang- of 10,000 Pines) at the foot of Fenghuang- hai. He established the Southern Song dy- shan (Phoenix Hill), and then somewhat nasty (1127–1279 A.D.), known as a period later, another new kiln was set up in the of cultural flowering and stability in foothills, Wuguishan, below the “subur- Chinese history. -
Downloaded from Brill.Com09/23/2021 10:03:49PM Via Free Access 20
Chinese Science, 1980, 4 : 19 - 52 BIBLIOGRAPHY OF RECENT ARCHEOLOGICAL DISCOVERIES BEARING ON THE HISTORY OF SCIENCE AND TECHNOLOGY by HSIA Nai Ii edited and translated by Donald Blackmore WAGNER Figure 1 The design on an inlaid bronze jar found in a Warring States tomb in Chengtu, Szechwan. From Item 66, Plate 2. Downloaded from Brill.com09/23/2021 10:03:49PM via free access 20 Abbreviations CP China Pictorial CR China Reconstructs CSA Chinese Sociology and Anthropology KK K'ao-ku ~ -i; (Archeology) KKHP K'ao-ku hsueh-pao ~ -ti ~ ;/R (The Chinese Journal of Archeology) WW Wen-wu i::. -!i/o (Cultural Relics) Editor's Introduction No one sufficiently interested in Chinese science to read this journal will be unaware that the major discoveries in this field made in China over the last dozen years have sprung from archeological excavation rather than library research. With the reconstitution of the Research Institute for the History of Natural Sciences in 1977, the work of fully integrating these discoveries with the historical record has begun to accelerate. It is perhaps symbolic of that transition that early in 1977 Dr. Hsia Nai published in K'ao-ku, the bimonthly Chinese journal of archeology, a general review of important publications over the last five years, as well as materials not yet published, bearing on the history of science and technol ogy. His article in effect reviewed the important finds of the entire Cultural Revolution era. No writer could have been more fully informed or more judicious in his evaluations. Hsia 's interest in technical history was largely responsible for the attention paid to it in China by archeologists, and for the willingness of arche ologists and historians to collaborate in the study of artifacts. -
March 2012, Vol. 104
Chinese Clay Art, USA Newsletter Vol. 104 March 2012 in this issue Chinese Ceramic Art Delegation and Exhibition at NCECA Seattle Re-location of Chinese Clay Art Corp The Celadon Capital - Longquan Village Tour: "Ceramics China 2012" updated New Arrival For online version with pictures or previous version of our newsletters, please clickNewsletters "CHINESE CLAY ART" is a newsletter emailed to professional artists, curators, collectors, writers, experts, educators and students in the ceramic field, who want to know about ceramic art in China and things related. This newsletter will be a bridge between China and Western countries for the ceramic arts. Comments and suggestions are very welcome. An earlier newsletter is on the Web at: http://www.chineseclayart.com Chief Editor: Guangzhen "Po" Zhou English Editor: Rachel Zhou (Copyright 2012, the Chinese Ceramic Art Council, USA. All rights reserved.) Chinese Ceramic Art Delegation and Exhibition at NCECA Seattle On the behalf of Chinese Ceramic Art Council USA, I have invited over 40 Chinese ceramic artists, patrons, educators and their students from Beijing, Shanghai, Jingdezhen, Yixing, Hangzhou, Chengdu and Dalian for the NCECA conference at the Seattle conference. What I feel excited about is: the first Chinese delegation that came to the US for NCECA was a group of seven in 1999. But, today, it will be over 40 people for the Seattle conference. March 28, we will set up an exhibition at the Clay Art room (the convention center, room 611 that was offered by my friend Mr. Mel Jacobson at Clay Art Group). Thanks to Mr. Mel Jacobson and all of Clay Art people! Thanks to Ms. -
Chinas Porcelain Capital the Rise, Fall and Reinvention of Ceramics in Jingdezhen 1St Edition Pdf, Epub, Ebook
CHINAS PORCELAIN CAPITAL THE RISE, FALL AND REINVENTION OF CERAMICS IN JINGDEZHEN 1ST EDITION PDF, EPUB, EBOOK Maris Boyd Gillette | 9781474259415 | | | | | Chinas Porcelain Capital The Rise, Fall and Reinvention of Ceramics in Jingdezhen 1st edition PDF Book Views Read Edit View history. Gillette traces how Jingdezhen experienced the transition from imperial rule to state ownership under communism, the changing fortunes of the ceramics industry in the early 21st century, the decay and decline that accompanied privatisation, and a revival brought about by an entrepreneurial culture focusing on the manufacture of highly-prized 'art porcelain'. Production was controlled by a ministry in the capital, by then in Beijing , far to the north. China's Cultural Relics provides an illustrated introduction to ancient Chinese artifacts and the preservation of these relics in modern times. Additional Product Features Dewey Edition. Bill o'Reilly's Killing Ser. In this fascinating book, Rebecca Barden got her feet muddy to tell the year story of how the Chinese state, global markets and the potters of Jingdezhen have interacted to produce the most extraordinary porcelains in the world. A new Southern Song court was based in Hangzhou. Best Selling in Nonfiction See all. Getting to know the ceramists who work there, Gillette ensures that this tome makes an arresting read. This item doesn't belong on this page. Hardcover Mary Stewart. Wares were placed inside stacked saggars on a floor of quartz sand; as the saggars protected their contents from direct flame both fuel and air could be introduced directly to the interior through vents, allowing temperature regulation throughout the kiln. -
Bailey Delivers More Features! at Bailey, Innovation Is Always Key to Our Designs
CERAMICSMONTHLY MONTHLY focus aesthetics February2006 $7.50(Can$9, h 6.50) www.ceramicsmonthly.org6.50) focus aesthetics FEBRUARY 2006 $7.50 (Can$9, E6.50) www.ceramicsmonthly.org New for 2006! Bailey Delivers More Features! At Bailey, innovation is always key to our designs. The New 2006 Bailey A Series Pugmills can now extrude tiles! No other pugmill even comes close. Talk about versatility, the Bailey has more safety features, better ergonomic design, easier cleaning, extrudes tiles, recycles wheel trimmings, and of course pugs out perfectly de-aired clay every time. Thanks to Bailey ingenuity, you get all the features you’ll ever need in one dynamic design. Bailey Pugmills blow away the competition. New Tile Look at all the Professional Features! Nozzle! Stainless Pug Ramp Tile Nozzle (Option) Nozzle Cap Recycle Screens (optional) Pivoting Cutoff Wire Easy Access Shredding Screens Large Capacity Hopper Easy Clean Barrel (only 4 bolts) No-Spill Plunger Seal Counterweighted Safety Handle Dry Recycle Capability Crossbraced Safety Screens Safety Key Switch Heavy Duty Vacuum Pump UL Motors Optional Mobile Work Station with Stainless Counter 2 Position Handle Mount (perpendicular or in-line to auger) Recycle! Model A Bailey Pugmills Wheel trimmings can Series come in 3 output be easily processed capacities: 600, into useable clay in minutes. Call for Prices 800 & 1200 lbs/hr. ON SALE Mixing, Recycling & Pugging NOW! have never been easier! All-in-One De-airing Mixer-Pugmills The Bailey MXP is nothing short of amazing. It will reclaim all you scrap without having to slake. The twin- auger mixing blades mesh together and blend the clay faster and more effectively than a single auger mixer. -
Pottery-Making in Ancient China 1 Wenjie Li
Pottery-Making in Ancient China 1 Wenjie Li Contents 1.1 Early Neolithic Age ....................................................................... 5 1.1.1 Raw Materials for Pottery-Making ............................................... 7 1.1.2 Forming of Clay Body ............................................................ 7 1.1.3 Firing of Pottery ................................................................... 8 1.1.4 Various Origins of Pottery Worldwide ........................................... 9 1.2 Middle Neolithic Age ..................................................................... 9 1.2.1 Raw Materials for Pottery-Making ............................................... 10 1.2.2 Pottery-Making with Mat ......................................................... 10 1.2.3 Origin of the Slow Wheel ......................................................... 10 1.2.4 Rise of Pottery Kilns .............................................................. 13 1.3 Late Neolithic Age ........................................................................ 14 1.3.1 Hunan as the Center of White Pottery-Making .................................. 14 1.3.2 Origin of the Fast Wheel .......................................................... 15 1.3.3 Development in the Making of Painted Pottery .................................. 19 1.3.4 Improvement of the Updraft Trench Kiln ........................................ 20 1.4 Early Chalcolithic Age .................................................................... 21 1.4.1 Disparate Development -
Download Article (PDF)
2015 International Conference on Humanities and Social Science Research (ICHSSR 2015) Jingdezhen’s Ceramic Civilization: The Past and Today 1,a 2,b 3,c Ganlin Zhang , Zhou Cheng , Qingli Wang 1College of Art and Design, Wuhan University of Technology, Wuhan, China; College of Art , Jingdezhen Ceramic Institute,Jingdezhen, China; 2School of Engineering, The University of Newcastle, Callaghan, NSW 2308, Australia 3College of Art and Design, Wuhan University of Technology, Wuhan, China; College of Art , Jingdezhen Ceramic Institute,Jingdezhen, China; [email protected], [email protected], [email protected] Keywords: Jingdezhen; Ceramic; Civilization Abstract. As the main host city, Jingdezhen, celebrated China’s ninth “Cultural Heritage Day” on June 14, 2014. After several thousand years’ inheritance and development, Jingdezhen now has unique and unmatched ceramic culture nationwide and even worldwide. It has many precious cultural heritage and immovable cultural relics, totally 770 pieces. Today Jingdezhen is endeavoring to find a way to inherit and develop the traditional techniques innovatively, facing the world with brand new and charming appearance. Introduction The word “china” in English not only means China, but also refers to porcelain. China has exported a large amount of porcelain since Han and Tang dynasties. Both the exquisite techniques of the Chinese porcelain and the rich history and culture expressed by it were highly appraised worldwide. People believed that only China could create such beautiful precious treasures, so they simply named porcelain from China as “china”. But another tale is more popular in Jingdezhen: China is the imitating translation of the Chinese characters “Chang Nan” (Chang Nan in Pinyin, which is the original name of Jingdezhen). -
November 2006, Vol. 53 PROFILE Chinese Traditional Ceramic Decoration Technique Cut Paper Resist Technique
CHINESE CLAYART NEWSLETTER November 2006, Vol. 53 PROFILE Chinese Traditional Ceramic Decoration Technique Cut Paper Resist Technique TRAVEL Tour of Ceramic China, May 31 - June 15, 2007 EVENTS Three Events on the China Trip of October 2006 PROFILE OF A CHINA TOUR OPPORTUNITIES English Teacher Wanted in China LETTERS A Perspective on Contemporary Chinese Ceramics by Andrew Maske CLAY TOOL and BOOK STORE HOLIDAY SALE - UP TO 20%OFF CHINESE CLAYART " Chinese Clayart" is a newsletter emailed monthly to professional ceramic artists who want to know about ceramic art in China and things related. This newsletter will be a bridge between China and Western countries for the ceramic arts. Comments and suggestions are very welcome. (Copyright 2000, The Chinese Ceramic Art Council, USA. All rights reserved) The Chinese Ceramic Art Council, USA. P.O.Box 64392, Sunnyvale, CA 94088, USA Tel. 408-777-8319, Fax. 408-777-8321, Email: [email protected] www.chineseclayart.com Chief Editor, Guangzhen "Po" Zhou English Editor, Deborah Bouchette TOP PROFILE Chinese Traditional Ceramic Decoration Technique: Trailed-slip Technique, Fahua Style (14th – 15th centuries) — Use white slip to trail patterns on the surface of a low-fired stoneware pot, then fill inside the lines with alkali-lead earthenware glazes. Cut Paper Resist Technique: Works same as wax-resist, cut-paper technique has been used since the Song Dynasty in Jizhou Ware. Cut pieces of paper were laid onto the damp, black-glazed ware, then a lighter color glaze was blown on the top. To purchase Chinese cut paper purchase, please visit www.ChineseClayArt.com.