Relevant bibliographies by topics / Chinese ceramics

Academic literature on the topic 'Chinese ceramics'

Author: Grafiati
Published: 10 December 2022
Last updated: 30 July 2024

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Journal articles on the topic "Chinese ceramics"

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Liu, Jing, and Shun Rao. "Unveiling the Story of Chinese Ceramics: Ideological and Political Education Reform and Exploration in the Course of History of Chinese and Foreign Ceramics." Frontiers in Humanities and Social Sciences 4, no. 5 (May 27, 2024): 193–99. http://dx.doi.org/10.54691/qg079278.

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In order to implement the fundamental task of ideological and political education in the course of cultivating virtue and shaping people, and leading values, this paper focuses on "Unveiling the Story of Chinese Ceramics" to clarify the inevitability and necessity of teaching the history of Chinese and foreign ceramics, and to design the ideological and political education content of the course "History of Chinese and Foreign Ceramics". Based on the key points of teaching and the practice of Chinese and foreign ceramics, we systematically search for the "story of China" in the history of Chinese and foreign ceramics, and deeply explore the ideological and political elements contained in ceramic stories. By improving the curriculum system, strengthening the construction of the curriculum team, and enhancing the evaluation system of the course, we can realize the practical path of ideological and political education in the course "History of Chinese and Foreign Ceramics" and exert the "silent nurturing" effect of education.
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Temmy, Temmy. "A Brief Analysis of The Influence of Chinese Culture Ceramic on Rococo Art of The West." Humaniora 5, no. 1 (April 1, 2014): 281. http://dx.doi.org/10.21512/humaniora.v5i1.3022.

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Chinese culture elements accepted for the first time by the Western countries was ceramic and silk. China's silk was found in ancient Greece during the Roman era and since then China has become the “Country of Silk”. Chinese ceramics came to the West a bit later. It was during the Song Dynasty that Western countries started accepting Chinese ceramics, and soon after that Chinese Ceramics had became a new surprise to the Western Countries and had China known as the “Country of Porcelain”. Porcelain as a cultural element is considered not only as material but also as a spirit. When the Europeans came to know the porcelain material, they had gradually been influenced by its spiritual content. Delicateness of ceramic slowly became a widely accepted aesthetic style, added with other factors that shaped the formation of the Rococo style that became very popular in Europe. This article used desk study to analyze and summarize the following three aspects: first, the impact of Chinese ceramic art on Western Rococo art, second, the art appreciation of Rococo art and third, to elaborate the influence of Chinese Ceramic and aesthetic in Western Countries.
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Tian, Ye, and Xiaobing Hu. "SWOT Analysis of China’s Ceramic Industry and the Use of Computers for Scientific and Technological Innovation Research." Scientific Programming 2021 (August 13, 2021): 1–9. http://dx.doi.org/10.1155/2021/5395988.

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Chinese ceramics have a long history and have been deeply recognized by the world after centuries of changes. The current world ceramic industry is diversified. Under this background, there is a huge challenge to the development of Chinese ceramics. The update of materials, the participation of computers in ceramic design, and the demonstration of ingredients all constitute technological factors that cannot be ignored in the development of the ceramic industry. Therefore, this study uses the SWOT analysis method to analyze the development of Chinese ceramics, puts forward its advantages and disadvantages, opportunities, and threats, and under the background of advanced technology, and how to use computer software to demonstrate raw materials and color matching to make Chinese ceramics. The development achieves the goal of self-improvement and then completes the upgrade of its production process and production. Through the research of this study, it is found that the current development of China’s ceramic industry should be good at using SWOT analysis, face up to its shortcomings and pressure from other ceramic production areas in the world, give full play to its advantages, maximize strengths and avoid weaknesses, and use technological innovation, combined with technical factors from other disciplines, to promote ceramic industry design and production capabilities and provide a reference for the current ceramic industry development.
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Ding, Liang. "Analysis of Creative Teaching of Ceramics and Student Creativity in Colleges and Universities in China." Scientific and analytical journal Burganov House. The space of culture 18, no. 2 (May 10, 2022): 80–86. http://dx.doi.org/10.36340/2071-6818-2022-18-2-80-86.

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Ceramic art has been an important part of human culture for thousands of years and it has had a significant influence all over the world. China is the home country of ceramics and the progression of ceramic culture has contributed much to the development of human history and civilisation. Education has played a key role in this progression of ceramic art and through ceramics education, the ceramic culture, ceramic arts and the crafts of ceramics, ceramic skills have been passed down from one generation to the next. Ceramics education is an important part of art education. Faced with the globalisation of culture and economics, Chinese ceramic art education and global ceramic art education have a mutual influence on each other and are closely linked together. Therefore, achieving perfection and development in the ceramics education in Chinese universities, specifically in ceramics teaching, is important. In the long term, training students that have creative abilities will influence the current status and the future of ceramics education in China. Today, in China, ceramics are classified as either ‘handwork’ or ‘industrial arts’, focusing on production-oriented requirements like practicality, aesthetic appearance and economy. Ceramics teaching has been restricted by this traditional thinking as it conforms to existing stereotypes. Lacking an interactive paradigm that is open to change, the ceramics teaching in China attaches great importance to the mere training of skills. By analysing the current situation of ceramics education in colleges and universities in China, this paper discusses how to use creative teaching methods to guide students' learning consciousness, improve learning motivation and develop students' creativity from the perspectives of creative teaching and teaching creativity. This is to provide enlightening reflections on the cultivation of students' creativity in ceramics education in colleges and universities.
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Fairyo, Klementin. "KERAMIK CINA BAGI ORANG BIAK-NUMFOR DI TELUK CENDERAWASIH: PENGGUNAAN DAN MAKNANYA (The Chinese Ceramics of Biaknese Numfor in Gulf of Cenderawasih: It’s Use and Meaning)." Jurnal Penelitian Arkeologi Papua dan Papua Barat 7, no. 1 (June 3, 2017): 23–33. http://dx.doi.org/10.24832/papua.v7i1.35.

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Chinese ceramics is a thing that comes from outside Papua. existence is possible because of the trading relationship either directly or indirectly, with ceramic producer countries. Ceramic exchange (barter) to produce Papua, especially the Bird of Paradise, Pala, Masohi, and aloes. Chinese ceramics for the Biak-Noemfoor in cenderawasih an important valuables. The past, the Biak-Noemfoor have a lot of Chinese ceramics is regarded as a hero (mambri). This paper will discuss the shape and type of ceramics used in the Biak cultural activities, as well as the use and meaning of Chinese ceramics for the Biak-Noemfoor. The method used is descriptive qualitative, with data collection through literature study, observation and interviews. Chinese ceramics found on archaeological sites in the area that is the site Biak Wariaba 5 and websites Snerbab b. Utilization of Chinese ceramics in the traditional ceremonies of Biak-Noemfoor the tradition continues.AbstrakKeramik Cina merupakan benda yang berasal dari luar Papua. Keberadaannya dimungkinkan karena adanya hubungan dagang dengan negara-negara produsen keramik, baik secara langsung maupun tidak. Keramik ditukar (barter) dengan hasil bumi Papua, khususnya burung cenderawasih, pala, masohi, dan gaharu. Keramik Cina bagi orang Biak-Numfor di Teluk cenderawasih merupakan barang berharga yang penting. Masa lalu, orang Biak-Numfor memiliki banyak keramik Cina dianggap sebagai pahlawan (Mambri). Tulisan ini akan membahas bentuk dan jenis keramik yang digunakan dalam aktivitas budaya orang Biak, serta penggunaan dan makna keramik Cina bagi orang Biak-Numfor. Metode penelitian yang digunakan adalah kualitatif deskriptif, dengan teknik pengumpulan data melalui studi kepustakaan, observasi dan wawancara. Keramik Cina yang ditemukan di situs arkeologi di wilayah Biak yaitu situs Wariaba 5 dan situs Snerbab b. Pemanfaatan keramik Cina dalam upacara adat orang Biak-Numfor merupakan tradisi berlanjut
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Wu, Shuang. "Exploring the Path of Cultural Intermingling with the World in East Asia." Frontiers in Business, Economics and Management 15, no. 3 (July 11, 2024): 193–96. http://dx.doi.org/10.54097/wq6v8y85.

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Since the reform and opening up, the Chinese ceramic culture has entered a new period. As an important cultural symbol since ancient times, ceramics has begun its modern evolution. The cross-cultural communication of ceramic culture can be regarded as a diversified process of industry and art on the two sides of inheritance and innovation. Not only that, the ceramic culture is experiencing a process of internationalization and modernization, the international influence of the ceramic culture is deepening, and the cultural symbols of ceramics are also in urgent need of modern expression. The history of ceramic culture will be the profound foundation for the modernization of ceramic culture in the future, promoting the modernization of ceramic culture as the symbol of Chinese culture.
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Song, Jing, Tao Cheng, and Li Wei Zhou. "Environmental Pollution and Pollution Control in Chinese Ceramic Industry." Key Engineering Materials 434-435 (March 2010): 823–25. http://dx.doi.org/10.4028/www.scientific.net/kem.434-435.823.

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This article describes various kinds of environmental pollution of ceramic industry in China, such as dust pollution, smoke pollution, water pollution and waste pollution of ceramics factories. In addition, some effective methods to control the pollution in ceramic factories are also discussed.
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Wang, Xingqian. "Principles of color formation in Chinese painting and ceramic painting." Философия и культура, no. 8 (August 2023): 139–47. http://dx.doi.org/10.7256/2454-0757.2023.8.43702.

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The art of traditional painting and ceramic painting in China has a long tradition, in particular in understanding the role of color in the compositional and semantic structure. The principles of creating a color image have long been associated with national peculiarities of perception of shades and their combinations, as well as philosophical ideas. Technological features and properties of glazes imposed certain restrictions on the use of expressive possibilities of color by Chinese ceramic artists. The object of this research is the works of Chinese painting and ceramics, the subject is the principles of color formation in these arts. Particular attention is paid to identifying similarities in approaches to color transfer in paintings and ceramics. The author's special contribution to the study of the problem is an attempt to characterize and compare the role of color in the art of Chinese painting and ceramic painting. The article defines a number of general principles of correlation and harmonization of colors in the two arts. The traditions of the color formation of works of various epochs are traced, the peculiarities of their evolution are established, the colors characteristic of painting and painting ceramics of different historical periods are revealed. The article examines the essence and symbolism of different colors, which are based on national philosophical and cultural ideas. The conclusion is made about the significance of the color image and color formation for the works of ceramics and painting in China.
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Chen, Zhe. "Tribute Trade: A Comparative Study of Yuan Dynasty Ceramics and Sukhothai Dynasty Ceramics." Communications in Humanities Research 24, no. 1 (January 3, 2024): 232–38. http://dx.doi.org/10.54254/2753-7064/24/20231745.

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Ceramics in Southeast Asian countries have been deeply influenced by Chinese ceramics, yet they also embody unique cultural attributes. This paper traces the tribute trade between the Yuan Dynasty of China and the Sukhothai Dynasty of Thailand, seeking commonalities in ceramics during that period. The study aims to compare and analyze the roles, styles, techniques, and mutual influences of Yuan Dynasty ceramics and Sukhothai Dynasty ceramics in tribute trade. Through the collection and analysis of relevant historical documents, archaeological data, and ceramic artifacts, it unveils the connections and distinctions between the ceramics of these two dynasties. The research explores the impacts of cultural exchange between the two nations in ceramics, including the transmission of techniques, artistic influences, and the exchange of art. The results of the study demonstrate that Yuan Dynasty ceramics and Sukhothai Dynasty ceramics mutually influenced each other in tribute trade and cultural exchange, jointly driving the development and innovation of ceramic art in both countries. This research holds significant importance for a deeper understanding of the diversity of Eastern ceramic culture and cultural exchange in tribute trade.
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La Duc, Elizabeth, and Angela Chang. "Analysis and Replication Studies of Prehistoric Chinese Ceramics from the Qijia Culture." MRS Advances 2, no. 35-36 (2017): 1849–67. http://dx.doi.org/10.1557/adv.2017.156.

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ABSTRACTEleven ancient Chinese ceramics from the early Bronze Age Qijia culture (c. 2200 – 1600 BCE) in the collection of the Harvard Art Museums were the subject of an interdisciplinary research project to explore questions about manufacturing techniques, specifically details of formation and decoration. While the Qijia culture, centered in the Gansu and Qinghai provinces of northwest China, is historically important as one of the earliest metalworking cultures of China and as a center of intercultural communication between China and central Asia, detailed scholarship about the culture is still emerging. Qijia ceramics have been categorized by typology, but little has been done regarding methods of manufacture. This study used visual examination and digital X-radiography to investigate ceramic production, especially the use of a wheel. In addition, the ceramic paste, including natural inclusions and temper, was examined. While film radiography has often been used to study ceramics, digital radiography presented new capabilities as well as challenges. Experimentation through the making of test vessels and tiles at the Harvard Ceramics Program provided additional insights into Qijia ceramics’ manufacture and surface decoration techniques, often described as cord-impressed.
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Dissertations / Theses on the topic "Chinese ceramics"

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Mok, Kar-leung Harold. "The study of Liao ceramics /." Hong Kong : University of Hong Kong, 1985. http://sunzi.lib.hku.hk/hkuto/record.jsp?B12317159.

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莫家良 and Kar-leung Harold Mok. "The study of Liao ceramics." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1985. http://hub.hku.hk/bib/B31207042.

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Li, Baoping. "Elemental and isotopic fingerprinting of Chinese archaeological ceramics /." [St. Lucia, Qld.], 2006. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe19207.pdf.

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Chen, Suifeng. "Cultural Exchange Centre & Chinese Ceramics Museum in Shenzhen." Click to view the E-thesis via HKUTO, 1997. http://sunzi.lib.hku.hk/hkuto/record/B31983236.

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Thesis (M.Arch.)--University of Hong Kong, 1997.
Title also in Chinese : Zhong Guo Shenzhen : Wen Hua Jiao Liu Zhong Xin Ji, Zhong Guo Tao Ci Bo Wu Guan. Includes special report study entitled : Lighting for museum & courtyard space. Includes bibliographical references. Also available in print.
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Chen, Suifeng, and 陳穗峰. "Cultural Exchange Centre & Chinese Ceramics Museum in Shenzhen." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1997. http://hub.hku.hk/bib/B31983236.

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Foster, Timothy Charles. "A study of the market valuation of antique Chinese ceramics." Thesis, Southampton Solent University, 1997. http://ssudl.solent.ac.uk/1261/.

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This research describes an attempt to postulate a grounded theoretical understanding of the valuation of objects described as art and antiques. The approach adopted is fundamentally inductive and interdisciplinary. It begins with a discriminating synthesis of the relevant literature from the disciplines of Art History, Sociology, Anthropology, Economics and Psychology. Financial value is strongly correlated with aesthetic value, which is created partially through the process of exchange itself, but largely through the ascribing of 'meaning' to objects through social and historical mechanisms. These mechanisms are examined using consumer behaviour paradigms. The economic notion of 'artistic capital stock' is assessed for its wider applicability. The study focuses on the creation of perceptions of cultural and financial worth, and valuation of antique Chinese ceramics, which through their inter-cultural complexity, are seen as illuminating a breadth of generalisable phenomena. The creation of perceptions is viewed on both the level of encircling cultural predispositions, and on a level of more specific interactions between the consumer and what are viewed as marketing inputs. The methodology adopted is one of cross-reference between qualitatively described observations derived from particiopation in the market, and quantitative behavioural analysis of a database compiled from the auction sales of Sotheby's and Christie's over a five year period. The results indicate that consumers of 'art' are behaviourally similar to generic consumers of any goods. Further they are risk-reducing seekers of autonomy through affiliation, which appears to compete in the fulfilment of their higher order psychological needs. Culturally established mechanisms for the ascription of 'meaning' to 'art' objects are shown to correlate functionality with the creation of brand perceptions through the marketing of fast moving consumer goods. The specific inputs which contribute to the perception of value, are identified and modelled. Recommendations are made regarding a fuller examination of the 'valuation' process and the appropirateness of further examinations of the 'art market' by consumer behaviourists.
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Ting, Wing Yan. "Communicating Chinese ceramics : a study of material culture theory in selected museums in Britain." Thesis, University of Leicester, 2008. http://hdl.handle.net/2381/31157.

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Many museums in the United Kingdom house fabulous collections of Chinese ceramics. These objects demonstrate, on the one hand, how craftsmen, connoisseurs and literati users made tactile contact with the object in the cultural context of traditional China and, on the other hand, reveal the interesting processes by which they were collected, adopted into museum culture and have created new meanings for British museum visitors. However, I argue that these objects are generally silent, because museum interpretation tends to reduce their materiality to visual narration, confining their interactions with visitors to the detached and static. This research aims to transform and animate object-human relationship through the development of an interpretive model highlighting sensory experiences, aesthetic sensibilities and reflective understanding. The proposed model outlines three interpretive principles - emphatic responses, metaphorical associations and multi-sensory designs - that define the object as an active enterprise embodying sensuous and emotive experiences of the past. In addition, it advocates a tactile mode of looking that empowers objects to speak of human experiences through their perceptual qualities while encouraging visitors to undergo self-discovery journeys in connection with the work. To ground my theory within a practical museum context, I examined visitors' interpretive strategies and conducted a series of interpretive experiments, involving Chinese material culture, at the Bristol City Museum (BCM) and the Museum of East Asian Art at Bath (MEAA). Informed by visitors' responses and my theoretical construction, these experiments aimed to develop a dynamic mode of object-human communication in exhibitions and to expand the scope of museum experiences. In relation to professional museum concerns with diversity and accessibility, it is contended that a sensuous theory of material culture will explore diverse voices embodied by the objects and contribute to the development of a truly communicative and inclusive culture in museums.
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Wen, Rui. "The cobalt blue pigment used on Islamic ceramics and chinese blue-and-white porcelains." Thesis, University of Oxford, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.560518.

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Cobalt blue pigment has been used to decorate ceramics as early as the New Kingdom (the 16th century BC - 11 th century BC) in ancient Egypt. The blue decoration ceramics have re-flourished since the Islamic Abbasid dynasty (750 AD-1258 AD). The large quantity Abbasid overglaze painted earthenware used the cobalt blue for decoration. In the same period, the ceramics with cobalt blue painting decoration also appeared in Chinese Tang dynasty (618 AD-907 AD). It is a great innovation in Chinese ceramic history since the aesthetic taste of Chinese ceramics was influenced by jade culture and consequently the monochrome decorative style was appreciated. The blue-and-white porcelain declined when Tang dynasty collapsed. However, the blue decoration ceramics has developed continuously in the Islamic lands. The cobalt blue were decorated on Minai wares, Lustre wares, underglaze painting wares and tiles from iz" to 19th centuries. The Chinese Blue-and-white porcelain re-blossomed in the Yuan dynasty (1271-1368 AD) in China. It gradually became the main stream product in Chinese ceramics industry during the is" - 17th century. Large quantities blue-and-white porcelains were exported to West Asia and further to Europe during the Ming (1368-1644 AD) and Qing (1644-1911) dynasties. This thesis mainly focuses on the chemical composition of the cobalt blue used on Islamic and Chinese ceramics and then the provenance, manufacturing process and the spread route of the cobalt blue were discussed base on the composition analysis. The research includes the X-ray fluorescence (XRF) experiments and the ancient literature analysis. The chemical composition of the cobalt blue pigment was obtained by the XRF examination and then the mineral of raw cobalt ores and further its provenance was discussed. The manufacture process and the trading route of the cobalt blue were also discussed through comparing the previous scholars blue ceramics and glasses results and analyzing the ancient literature. Based on the scientific experiments, the seven groups of cobalt blue for Islamic ceramics and glasses were summarized. Each of the groups has the distinctive compositionaJ distribution. Meanwhile, there are two main cobalt sources for Islamic ceramics and glasses in history, which are Persian Kashan sulaimani and German Schneeberg smalt. Most of the blue groups were originated from the two main cobalt sources. The different compositional distribution is due to the different manufacture processes. The cobalt blue of Chinese blue-and-white porcelain was depended on import in the early period. However, the imported cobalt blue could not meet the demand when the Chinese blue-and-white porcelain industry rose in the is" century. The manufacture had to use the Chinese local cobalt ores since the is" century.
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Langrick, Helena. "An anthropological perspective on the role of Chinese trade ceramics in the prehistory of a Philippine culture." Thesis, University of British Columbia, 1985. http://hdl.handle.net/2429/25453.

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This study presents an analysis of Chinese trade ceramic data from a stratified burial site in the Philippines representing two main proto-historic periods in the 12th and 14th centuries A.D. An ethnographic model constructed from ethno-historical data is used to generate hypotheses which are evaluated by means of quantitative analyses designed to test for social complexity in each period. The results of analyses are then assessed in terms of symbolic patterns derived from the ethnographic model. The research framework includes the construction of a methodological structure designed to incorporate both processual and symbolic approaches to archaeological analysis. The Pila cultural system is treated as an open, non-homeostatic system incorporating tangible and intangible elements, some aspects of which are not amenable to exact definition or measurement. Major areas of focus include the trade sub-system, the social sub-system and the ritual subsystem. Hypotheses test for social differentiation in terms of wealth, descent, social roles, and specialization of function; for hierarchy and centralization in terms of corporate control; for symbolic content of artifacts and ritual patterns; and for culture change in terms of increased social complexity in the later period. Analyses involve the evaluation of quantitative differences in amount of goods; patterns of spatial distribution throughout the site and within individual burials; and comparisons of burial treatment between individuals and between sub-groups. Major areas of theoretical concern include the question of status differentiation in prehistory, and the extent to which inferences can be made from mortuary patterns; the relationship between material culture, social organization and ideology; and the effects of prolonged long-distance trade on the internal complexity of a cultural group. I conclude that in Pila, mortuary patterns represent an accurate reflection of socio-cultural patterns in general. The results of the analyses support the applicability of the ethnographic model of Pila as an egalitarian society with a prominent ideological component in which Chinese ceramics played an important role. I conclude that a recursive relationship is seen to exist between material culture, social organization and ideology. In particular, that the physical characteristics of Chinese ceramics, characterized by durability, resonance, impermeability and light-reflecting glazes, caused them to become closely identified with all aspects of ritual, and to reinforce the ideological patterns of Pila. These ideological patterns include a belief in powerful ancestor and nature spirits which control all aspects of life and death. Associated with this are petitionary rituals of every kind, conducted mainly within the family circle in a one-to-one relationship with the spirits, and involving the use of Chinese ceramics as important ritual objects. The mortuary data also indicates that culture change, characterized by a slight general increase in social complexity, occurred between the earlier and later cultural periods. This increase in social complexity appears to be associated with the long-standing trading contacts with China, in terms of economic impact as well as diffusion of certain cultural elements.
Arts, Faculty of
Anthropology, Department of
Graduate
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Sklebitz, Anne [Verfasser]. "Glazed Ceramics from Karakorum : The Distribution and Use of Chinese Ceramics in the Craftsmen Quarter of the Old-Mongolian Capital During the 13th–14th Century A. D. / Anne Sklebitz." Bonn : Universitäts- und Landesbibliothek Bonn, 2018. http://d-nb.info/116557425X/34.

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Books on the topic "Chinese ceramics"

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Museum, Victoria and Albert, ed. Chinese ceramics. London: V&A, 2009.

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Pierson, Stacey. Chinese ceramics. London: V&A, 2009.

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Pierson, Stacey. Chinese ceramics. London: V&A, 2009.

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Wei, Ji. Chinese ceramics. Pleasantville, N.Y: Reader's Digest Association, 2009.

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Wei, Ji. Chinese ceramics. Pleasantville, N.Y: Reader's Digest Association, 2009.

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Luisa, Mengoni, Wilson Ming, and Victoria and Albert Museum, eds. Chinese export ceramics. London: V & A Pub., 2011.

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Chugaku, Toji Zenshu. [Chinese Ceramics in Chinese Collections. [Japan: s.n.], 1987.

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Manson & Woods Christie's. Chinese ceramics and Chinese export ceramics and works of art. London: Christie's, 2001.

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Dekun, Zheng. Studies in Chinese ceramics. Hong Kong: The Chinese University Press, 2000.

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Wilson, Ming. Rare marks on Chinese ceramics. London: The School of Oriental and African Studies, University of London in association with the Victoria and Albert Museum, 1998.

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Book chapters on the topic "Chinese ceramics"

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Jueming, Hua, and Qiu Gengyu. "Ceramics." In Chinese Handicrafts, 425–519. Singapore: Springer Nature Singapore, 2022. http://dx.doi.org/10.1007/978-981-19-5379-8_5.

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Li, Wenjie. "Ceramics Technology." In A History of Chinese Science and Technology, 301–78. Berlin, Heidelberg: Springer Berlin Heidelberg, 2014. http://dx.doi.org/10.1007/978-3-662-44166-4_3.

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Blofeld, John. "Tea and Ceramics." In The Chinese Art of Tea, 141–53. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003130871-11.

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Lim, Tse Siang. "Chinese Ceramics in Southeast Asia." In Encyclopedia of Global Archaeology, 2304–19. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-30018-0_3148.

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Lim, Tse Siang. "Chinese Ceramics in Southeast Asia." In Encyclopedia of Global Archaeology, 1–16. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-51726-1_3148-1.

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Lim, Tse Siang. "Ceramics, Southeast Asian and Chinese Trade." In Encyclopedia of Global Archaeology, 2106–10. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-30018-0_494.

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Lim, Tse Siang. "Ceramics, Southeast Asian and Chinese Trade." In Encyclopedia of Global Archaeology, 1310–14. New York, NY: Springer New York, 2014. http://dx.doi.org/10.1007/978-1-4419-0465-2_494.

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Hua, Rong Hui. "Analysis of Profitability in Chinese Listed Ceramic Companies." In High-Performance Ceramics V, 1720–21. Stafa: Trans Tech Publications Ltd., 2008. http://dx.doi.org/10.4028/0-87849-473-1.1720.

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Castillo, Karime, and Patricia Fournier. "A Study of the Chinese Influence on Mexican Ceramics." In Archaeology of Manila Galleon Seaports and Early Maritime Globalization, 253–68. Singapore: Springer Singapore, 2019. http://dx.doi.org/10.1007/978-981-32-9248-2_15.

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Miksic, John N. "Chinese Ceramics and Local Cultural Statements in Fourteenth-Century Southeast Asia." In Studies in Southeast Asian Art, edited by Nora A. Taylor, 194–216. Ithaca, NY: Cornell University Press, 2019. http://dx.doi.org/10.7591/9781501732584-013.

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Conference papers on the topic "Chinese ceramics"

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Zhang, Ganlin, Qin Yu, and Feng Mingyan. "Refresh Memory: Chinese Ceramics Goes to the World - the Ceramic Conversation among Chinese IAC Members." In 2017 3rd International Conference on Humanities and Social Science Research (ICHSSR 2017). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/ichssr-17.2017.39.

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Hu, Jinyu, Ruili Dong, and Yonghong Tan. "A new improved Bouc-Wen Model of Piezoelectric Ceramics Actuators." In 2021 40th Chinese Control Conference (CCC). IEEE, 2021. http://dx.doi.org/10.23919/ccc52363.2021.9549890.

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Liu, Yanmei, Jun Shen, Li Fu, and Jiang Cao. "Nonlinear characteristics measurement of piezoelectric ceramics actuator based on LabVIEW." In 2016 Chinese Control and Decision Conference (CCDC). IEEE, 2016. http://dx.doi.org/10.1109/ccdc.2016.7531845.

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Zhang, Kun. "Constitution Study on the Application of Chinese Character Elements in Modern Ceramics." In Proceedings of the 3rd International Conference on Art Studies: Science, Experience, Education (ICASSEE 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/icassee-19.2019.66.

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Li, Weidong. "A study on the coloring mechanism of famous ancient Chinese ceramics (Conference Presentation)." In Optics for Arts, Architecture, and Archaeology VII, edited by Piotr Targowski, Roger Groves, and Haida Liang. SPIE, 2019. http://dx.doi.org/10.1117/12.2525650.

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Zhang, Kun. "Application and Development of Chinese Character Element Decoration in Modern and Contemporary Ceramics." In Proceedings of the 3rd International Conference on Art Studies: Science, Experience, Education (ICASSEE 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/icassee-19.2019.64.

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Zhang, Bo, and Guoqiang Sun. "A research of piezoelectric ceramics based on digital PID driving warhead deflection." In 2019 34rd Youth Academic Annual Conference of Chinese Association of Automation (YAC). IEEE, 2019. http://dx.doi.org/10.1109/yac.2019.8787643.

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Wang, Dong, and Chunhui Zheng. "Research on the Digitalized Transmission Planning of Chinese Intangible Cultural Heritage Taking Ceramics as an Example." In 2015 International Conference on Education, Management, Information and Medicine. Paris, France: Atlantis Press, 2015. http://dx.doi.org/10.2991/emim-15.2015.122.

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Bocharov, S. "CHINESE CERAMICS OF THE 14TH CENTURY IN THE MATERIAL COMPLEX OF THE GOLDEN HORDE’S SECOND CAPITAL (TSAREV MEDIEVAL CITY)." In Ancient cultures of Mongolia, Southern Siberia and Northern China: Transactions of the XIth International Conference (September 8–11, 2021, Abakan). Institute for the History of Material Culture of the Russian Academy of Sciences, 2021. http://dx.doi.org/10.31600/978-5-907298-19-4.212-217.

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Giang, Do Truong. "A preliminary survey of Chinese ceramics in Champa archaeological sites | Khảo sát sơ bộ về đồ gốm sứ Trung Quốc tại các địa điểm khảo cổ học Champa." In The SEAMEO SPAFA International Conference on Southeast Asian Archaeology and Fine Arts (SPAFACON2021). SEAMEO SPAFA, 2021. http://dx.doi.org/10.26721/spafa.pqcnu8815a-12.

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Abstract:
The Champa Kingdom was recognized popularly as a typical maritime polity in premodern Southeast Asia. Thanks to its strategic location between the Chinese market and Southeast Asia and South Asia, the Champa coast became a frequent destination of foreign traders and merchant ships for centuries. Ceramics was among the essential commodities in trade between Champa and international traders. This article relies on archaeological records and field surveys at Champa sites in central Vietnam to provide an overview of the distribution of Chinese ceramics in central Vietnam from the 7th to 10th centuries. Based on this primary data set, the author will discuss the trade and diplomatic relations between Champa and China and their implication to Champa’s state development. Vương quốc Champa được ghi nhận như một vương quốc biển điển hình ở Đông Nam Á thời kỳ cổ trung đại. Nhờ vị trí chiến lược giữa thị trường Trung Quốc với các nước Đông Nam Á và Nam Á, bờ biển Champa trở thành điểm đến thường xuyên của các thương nhân và tàu buôn nước ngoài trong nhiều thế kỷ. Gốm sứ là một trong những mặt hàng thiết yếu trong giao thương giữa Champa và các thương nhân quốc tế. Bài viết này dựa trên các dữ liệu khảo cổ học và kết quả khảo sát thực địa tại các địa điểm khảo cổ học Champa ở miền Trung Việt Nam để cung cấp một cái nhìn mang tính tổng thể về sự phân bố của đồ gốm sứ Trung Quốc ở miền Trung Việt Nam từ thế kỷ thứ 7 đến thế kỷ thứ 10. Dựa trên bộ dữ liệu cơ bản này, tác giả sẽ thảo luận về quan hệ bang giao và thương mại giữa Champa với Trung Quốc thời Đường và ý nghĩa của mối quan hệ này đối với sự phát triển nhà nước của Champa.
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