Dissertations / Theses on the topic 'Chinese ceramics'

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.

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.

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.

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.

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

Chinese Ceramics have been among the most important archaeological findings in the study of trade in the Indian Ocean from the 8th to the 19th centuries. They have the advantages of commonality, durability, identity and being unearthed in large quantities. Chinese ceramics provide clues for understanding trading trends and linking the Chinese production industries to consumption markets in the Indian Ocean. However, it seems that their crucial importance for field archaeology in the western Indian Ocean has not been well established, due to the lack of a comprehensive overview of Chinese traded ceramic archaeology and a systematic classification. The thesis is concerned with how Chinese trade ceramics impacted on maritime trade in the western Indian Ocean from the 8th to the 16th century. Based on an archaeological report collecting data from 140 ceramic kiln sites in China and on archaeological ceramic material collected from 129 coastal sites and collections in the western Indian Ocean, this thesis has reviewed the archaeological and chronological development of Chinese trade ceramics. A systematic classification of Chinese trade ceramics in the western Indian Ocean has been developed and built, introduced with a review of the long-term history and researched using quantitative methods.

This thesis investigates southern China as a part of dynamic and extensive interregional networks from the third to the first millennium BC and explores the changing roles of different southern regions within the interregional relationships. This was an important transitional period for southern China as it was the time when several prominent and farreaching innovations of technologies and material culture were made or adopted in the area. Four key sets of materials – rice, bronze, ceramics and jade – are examined with a World-system perspective to reveal interregional contacts in different directions and of different nature between southern China and a number of neighbouring regions. By stressing on local responses towards different technologies and material culture in different period, an alternative narrative to that stemmed from Chinese historiography is, therefore, suggested. Instead of being a passive and 'backward' periphery in the traditional sense, southern China presents diversification of material culture over time. Many of the mechanisms of transmission and circulation in the south are characterised by 'leaked' technologies and designs, as well as 'selective adoption' and local redevelopment of material culture.

This thesis examines the choice of ceramic materials for traditional architecture and the circumstances which influenced their selection. Traditional Chinese buildings have been studied by architectural historians more for the qualities of their timber framework and less for their ceramic content, even though this can be the major visible component of a structure. Because of their dissimilar production techniques, function and often size, Chinese architectural ceramics do not fit comfortably alongside the appreciation and study of [me ceramic wares for domestic or ritual use. Architectural components therefore occupy an interdisciplinary area bordering upon Chinese architectural history and Chinese ceramics, and this is reflected in a small but growing body of relevant literature. Field-work has focused on extant structures and archaeological remains in the former Ming capitals of Nanjing and Beijing, and on sites throughout Shanxi Province, the latter a region rich in extant examples of traditional architecture and ceramic ornament produced by elite patronage of skilled local craftsmanship. Buildings were used as the primary source and observations of architectural ceramics in situ compared against specimens in collections and described in documentary sources. Structures studied were primarily on religious sites and also included palace halls and screen-walls. The study focused on the Ming period, but structures from earlier and later periods were included in order to observe changes in styling and techniques. Chinese traditional buildings are designed for continuous maintenance, and the precise age of individual components is often mixed. The social history of a structure, with its various renovations and repairs, is therefore often more significant than its date of origin. The study examines evidence of trial, innovation and stylistic freedom alongside factors which may have promoted or hindered these choices, and very different circumstances appear to have prevailed in all three study locations.

Les céramiques eutectiques Al₂O3-YAG-ZrO2:Y obtenues par solidification dirigée constituent une alternative aux superalliages base nickel monocristallins pour le développement d’aubes de turbine à haute température. En effet, leur microstructure complexe 3D-imbriquée, appelée Chinese script, et la qualité des interphases confèrent au matériau une stabilité thermique et des propriétés mécaniques, fluage et contrainte à la rupture, constantes jusqu’à des températures proches de 1700°C.Nos travaux se basent sur deux approches, expérimentale et numérique, afin de comprendre deux aspects inhérents à la morphologie de cet alliage : - La microstructure Chinese script constituée de lamelles irrégulières enchevêtrées des phases majoritaires corindon et YAG et d’une troisième phase ZrO2 :Y. - L’apparition des colonies dans la microstructure, qui résultent d’une déstabilisation de l’interface de solidification en présence d’une impureté.Trois procédés d’élaboration ont été utilisés dans le cadre du projet : EFG, Bridgman et Micro-Pulling Down, afin d’explorer une large gamme de conditions de croissance (gradient de température et vitesse de solidification). Une modélisation des trois procédés par éléments finis avec le logiciel commercial COMSOL a permis une connaissance précise des paramètres de solidification, nécessaire à l’étude des mécanismes de croissance. En parallèle, la composition des échantillons est confrontée aux calculs CALPHAD du diagramme d’équilibre des phases.Une procédure de caractérisation des microstructures obtenues pour différentes conditions de solidification a été mise en place pour décrire cet eutectique irrégulier. Ainsi l’effet de la vitesse et du gradient de température sur cet alliage a été étudié. Des similarités avec la croissance des eutectiques métalliques ont été établies. Il apparaît que la structure eutectique est constituée de deux phases Al2O3 et YAG monocristallines et d’une dispersion de Zr02:Y.Enfin un modèle physico-chimique, inspiré des modèles existants sur la croissance eutectique des métaux, est proposé pour expliquer la formation de cette microstructure et la déstabilisation du front de solidification. Ce modèle est comparé aux observations expérimentales et montre que la compréhension de la croissance eutectique élaborée dans le cas des métaux s’applique bien à la description des eutectiques céramiques.Par ailleurs, une perspective de contrôle de la microstructure par champ électrique est présentée. En effet, en utilisant le caractère ionique du matériau fondu, l’application d’un champ électrique permet de modifier le mouvement des ions et donc d’influencer les phénomènes de diffusion à l’origine de la microstructure
These last decades, directionally solidified eutectic oxides have drawn attention and are seen as an alternative to Ni based superalloys for the development of high temperature turbine blades. Indeed, their 3D entangled and complex microstructure, called Chinese Script and the high quality of the interphases provide a thermal stability and mechanical properties, creep and strength, constant up to 1973 K.Our study focuses on the directional solidification of an alumina-based ternary eutectic alloy. The work is based on two approaches, experimental and modeling, in order to understand two inherent aspects of this alloy morphology: -The Chinese Script microstructure composed of irregular entangled lamellas of the two major phases Al2O3 and YAG and the third phase ZrO2:Y. - Colonies formation due to the presence of an impurity causing an interface destabilization.Experiments have been performed by different growth techniques: EFG, Bridgman and Micro-Pulling down exploring a large range of growth conditions. The modeling of these processes on a commercial software COMSOL gave the precise knowledge of the growth rate and the temperature gradient, needed for the study of the growth mechanisms. In the meanwhile, samples’ composition has been confronted to the phases equilibrium diagram calculated by the CALPHAD method.A characterization route of the microstructures obtained for different growth conditions has been set up in order to describe this irregular eutectic. Thus, the influence of speed and temperature gradient have been studied, showing identical growth behavior with eutectic metals. Moreover, it appears that this eutectic structure is composed of two single crystals: Al2O3 and YAG and a finely dispersed particles of ZrO2:Y.Finally, a physico-chemical model is presented, based on classical models in the case of metallic eutectics, in order to describe the formation of this microstructure and the appearance of colonies at the eutectic composition. The model is confirmed by the experimental observations. Peculiarities of the ceramic eutectic growth, with respect to metallic eutectics, are discussed.Besides, a way to control the microstructure through an electric field is presented. Indeed, by using the ionic property of the molten material, applying an electric field allows to modify ions transport and thus influences the diffusion phenomena at the origin of the microstructure

Les artefacts en céramique ont une longue histoire et ont été récupérés dans presque toutes les régions du monde. La conservation n’est que rarement impactée par le milieu d’enfouissement. Donc, ils sont des matériaux idéaux pour comprendre l'histoire et la culture de homme. Les principales études archéologiques sur les céramiques anciennes concernent la provenance (datation, atelier, commerce), les matières premières (identification, origine), le processus de fabrication et l'utilisation (analyse des résidus de contenu). Mon travail porte plus précisément sur le processus de fabrication. Les principales étapes du processus de fabrication sont: la sélection des matières premières, la préparation, le façonnage, salle de bains, sur deux possibilités. Soit le vase est cuit avant l'étape de décoration, soit la décoration est appliquée sur le vase cru. Pour finir, l'ensemble est cuit. Mon objectif est d'obtenir des informations sur le procédé de fabrication en analysant la structure des céramiques anciennes, et en particulier, la structure des couches décoratives. La structure des céramiques anciennes est une structure complexe en couches avec des hétérogénéités à différentes échelles (mm à nm). Une céramique décorée est généralement composée d'une pâte et d'un revêtement, y compris de la décoration. Le revêtement peut contenir des natures différentes. L'épaisseur peut être variable de mm à nm. La couche décorative peut être une partie ou du tout la revêtement. La couche décorative peut être constitutive d'une phase vitrifiée amorphe et divers cristaux, tels que cristaux colorants, feldspath, quartz, etc., dont la taille varie de plusieurs microns à nanomètre. La description de cette structure nécessite l'analyse à haute résolution (nm) avec grande zone représentative (souvent plusieurs mm3). C’est difficile à réaliser. Dans mon travail, j'ai proposé une autre approche. L'approche est basée sur trois étapes. Premièrement, les analyses rapides (principalement microscopie optique) à faibles résolutions sont effectuées pour analyser et sélectionner la zone nécessitant une analyse à haute résolution. Ensuite, la zone sélectionnée est analysée à haute résolution par des techniques appropriées en tenant compte des informations recherchées. Troisièmement, on essaie de construire la structure de l'objet sur la base des données partielles, et d’en déduire le processus de fabrication. Je vais illustrer cette approche par trois exemples. La première concerne le pigment jaune de la terre sigillée marbrée romaine (chapitre III). Le second concerne le processus de cuisson des poteries attiques (chapitre III). Le troisième concerne les variations de couleur de la décoration bleue des porcelaines Qinghua (chapitre IV)
Ceramic artifacts have a long history and have been discovered worldwide. Their conservations are rarely impacted by the burial sites. Thus, they are ideal materials for understanding the human history and culture. The main archaeological studies concerning ancient ceramics contains provenance (dating, workshop, trade), raw materials (identification, origin), manufacturing process and utilization (analysis of content residues). For my work, I focused on the investigation of the manufacturing process. The main steps of fabrication process of ancient ceramics is composed of selection of raw materials, preparation (leaching, purification, body, glaze or slip, pigments), shaping (the plastic paste is shaped to the lathe or using the molds). Then, there are two possibilities: either the vase is fired before the decoration stage, or the decoration is applied to the raw vase. To finish, the whole is fired. My objective is to obtain information on the manufacturing process by analyzing the structure of ancient ceramics, and in particular the structure of decorative layers. The structure of ancient ceramics is complex with heterogeneities at different scales (mm to nm). A decorated ceramic generally is composed of a body and a coating, which including of the decoration. The coating could contain different natures. The thickness can be variable from mm to nm. The decorative layer can be a part of the coating or the whole coating. The decorative layer can be constituent of an amorphous vitrified phase and diverse crystals, such as colorant crystals, feldspar, quartz, etc., of which the size varies from several microns to nanometer. The description of such structure requires the analysis at high resolution (nm) with large representative zone (often, several mm3). It is difficult to realize. In my work, I proposed an alternative approach. The approach is based on three stages. Firstly, the rapid investigations (principally, optical microscopy) at low resolutions are effected to analyze and select the zone requiring analysis at high resolution. Secondly, the selected zone is analyzed at high resolution by appropriate techniques according to the information sought. Thirdly, I try to construct the structure of the object based on the partially data, and therefore deduce the manufacturing process. I will illustrate this approach through three examples. The first one concerns the yellow pigment of the Roman marbled terra sigillata (Chapter III). The second one is about the firing process of Attic potteries (Chapter III). The third one concerns the color variations of blue decoration of Qinghua porcelains (Chapter IV)

En 1894, une collection de plus de trois mille pièces, déjà célèbre à Paris, entre au Musée du Louvre : il s'agit de la collection d'Ernest Grandidier (1833-1912). La nature des objets qui la composent — des porcelaines chinoises — et le rôle que le collectionneur entend continuer de jouer auprès de sa collection — il exige d'en devenir le conservateur — la distinguent des autres libéralités qui affluent au musée sous la Troisième République. De l'installation de sa collection à l'entresol de la Grande Galerie en 1895, à sa mort en 1912, Grandidier n'aura de cesse, au musée, d'enrichir ses vitrines et de veiller sur ses objets.Notre approche ne consiste pas en une expertise sur les céramiques réunies par Grandidier, mais en une étude de cet objet qu'est sa collection dans son contexte qui se décline autour de la question de la perception, et donc du regard. L'interaction complexe entre ces porcelaines, identifiées comme la culture matérielle d'un pays éloigné, et la seconde moitié du XIXe siècle français, est ainsi examinée à la lumière de l'histoire d'une collection, des conditions de son installation au Louvre et du regard français sur la porcelaine de Chine à cette période. Ce que révèle l'histoire de la collection Grandidier, c'est que bien que son créateur soit engagé dans une démarche spécifique vis-à-vis de la porcelaine de Chine — sa datation et son classement —, il ne reste pas insensible aux discours artistiques et critiques de son temps. Il relie les recherches sinologiques de la période, principalement tournées vers la philologie, aux Expositions universelles, ou encore les missionnaires lazaristes aux travaux de l'Union centrale des arts décoratifs (UCAD) en faveur de l'union de l'art et de l'industrie. En effet, le collectionneur défend sa donation en présentant sa collection comme un outil d'enseignement dans deux domaines : celui de l'histoire de la porcelaine chinoise et celui de l'industrie. Nous souhaitons interroger ces deux justifications afin de préciser la réception de ces objets par le collectionneur et ses contemporains
In 1894, a collection of more than 3000 pieces, already famous in Paris, enters the Musée du Louvre: that of Ernest Grandidier. The nature of the objects that formed it - Chinese porcelains - and the role the collector intends to keep next to his collection - he requires to become its keeper - distinguishes it from the other donations made to the museum during the Third Republic. From the installation of the collection in the “entresol” of the Grande Galerie in 1895, to his death in 1912, Grandidier keeps enriching his showcases (now at the museum) and watching after his pieces.My approach is not a study of the ceramics gathered together by Grandidier, but a study of his collection in its context which develops around the perception and, thus, the gaze. The complex interaction between these porcelains, identified as material culture of a distant country, and the second half of the 19th-century, is examined in the light of the history of a collection, the conditions of its installation at the Louvre and the French gaze on Chinese porcelain at that time. The history of the Grandidier collection reveals that although its creator is involved in a specific process towards Chinese porcelain - its dating and classification -, he is not indifferent to the critical and artistic discourses of his time. He connects together sinology of the period, mostly devoted to the philology, to the universal exhibitions, and the Lazarist missionaries to the work of the Union centrale des arts décoratifs (UCAD). Indeed, the collector, as he supports his gift, presents his porcelains as a teaching tool of two fields: industry and history of Chinese porcelain. I would like to question these two justifications in order to precise the reception of these objects by the collector and his contemporaries

Le Patrimoine (Héritage) Culturel est défini comme l'ensemble des biens matériels et immatériels d’un groupe ou d’une société hérités des générations passées. Les vases sont parmi les biens culturels les plus emblématiques d’une société. Dans le cadre de ce travail nous nous sommes intéressés aux vases en céramique chinois des dynasties Ming (1368-1644) et Qing (1644-1911) dont il existe de nombreuses collections réparties dans différents musées en Chine. Si certaines de ces collections ont été numérisées, elles sont rarement accessibles dans un format ouvert et restent isolées. De plus, l’absence de terminologies clairement identifiées est un obstacle à la communication et au partage des connaissances.Notre travail vise à répondre à cette problématique par la mise en œuvre de pratiques relevant du web sémantique et de l’ingénierie des connaissances, et plus particulièrement par la construction sous un format du W3C d’une ontologie dédiée aux vases chinois des dynasties Ming et Qing.La construction de l’ontologie TAO CI (« céramique » en Chinois) respecte la façon de penser des experts dans leur conceptualisation du domaine et tient compte des normes internationales en Terminologie (ISO 1087 et ISO 704). Les deux approches reposent sur la notion de caractéristique essentielle et définissent un concept comme étant comme une combinaison unique de caractéristiques. La recherche des différences entre objets, combinée à une analyse morphologique des termes chinois dont les caractères sont porteurs de sens au regard des connaissances du domaine, permet d’identifier les caractéristiques essentielles. La définition des concepts repose sur l’idée qu’un concept est un ensemble de caractéristiques essentielles suffisamment stable pour être nommé en langue. Nous avons ainsi proposé une méthode spécifique de construction d’ontologies guidée par les termes et les caractéristiques essentielles du domaine. Nous avons également été amenés à introduire de nouveaux termes (néologismes) en anglais et des concepts sans désignation en langue à des fins de structuration de l’ontologie. La définition des termes en langue naturelle, définition aristotélicienne, s’appuie sur la définition formelle des concepts dénotés par les termes.La construction de l’ontologie a été faite à l’aide de l’environnement Protégé, environnement le plus utilisé pour la construction d’ontologies au format du W3C (RDF/OWL). La notion de caractéristique essentielle n’existant pas en Logique de Description, il a fallu les traduire et pour cela nous avons proposé quelques principes. La dimension terminologique a été réduite, comme c’est souvent le cas, à des annotations (SKOS, RDFS) sur les concepts. L’ontologie TAO CI est liée à des ressources externes telles que CIDOC CRM et ATT Getty pour la partie conceptuelle, et à des musées pour les objets. Enfin, nous avons évalué l’ontologie TAO CI du point de vue du domaine (couverture) et de son implémentation. Elle est en accès libre à l’adresse : http://www.dh.ketrc.com/otcontainer/data/OTContainer.owlLa dernière phase du projet a consisté à réaliser un site web dédié. Ce site donne accès aux différentes ressources du projet et en particulier à un dictionnaire électronique bilingue (anglais, chinois) des vases des dynasties Ming et Qing. Les entrées de ce dictionnaire correspondent aux classes OWL de l’ontologie : http://www.dh.ketrc.com/L’ontologie TAO CI est, à notre connaissance, la première ontologie au format du web sémantique de vases en céramique chinois, ouverte et réutilisable. Elle est une illustration d’une démarche guidée par les termes et les caractéristiques essentielles du domaine qui peut être appliquée à la construction d'ontologies dans d'autres domaines du patrimoine culturel chinois
Cultural heritage is the legacy of physical artefacts and intangible attributes of a group or society that is inherited from past generations. Vases are among the most iconic objects of cultural heritage. In the context of this work, we have focused on Chinese ceramic vessels of the Ming Dynasty (1368-1644) and the Qing dynasty (1644-1911). There are many collections of vases in different museums in China. Although some of these collections have been digitised, they are rarely accessible in an open format and remain isolated. In addition, the lack of clearly identified terminologies is an obstacle to communication and knowledge sharing.Our work aims to respond to this issue by implementing practices drawn from the semantic web and knowledge engineering, and more particularly by building in a W3C format an ontology dedicated to the Chinese vases of the Ming and Qing dynasties.The construction of the TAO CI ("ceramic" in Chinese) ontology respects the experts' way of thinking in their conceptualization of the field, and takes into account the international standards in Terminology (ISO 1087 and ISO 704). Both approaches are based on the notion of essential characteristic and define a concept as a unique combination of characteristics. The search for differences between objects, combined with a morphological analysis of Chinese terms whose characters carry meaning in relation to knowledge of the field, allows to identify essential characteristics. The definition of concept is based on the idea that a concept is a set of essential characteristics stable enough to be named in language. We have thus proposed a specific method for building ontologies guided by the terms and essential characteristics of the domain. We have introduced new terms (neologisms) in English and concepts without any designation in language for ontology structuring purposes. The definition of terms in natural language follows the Aristotelian definition. It is based on the formal definition of concepts denoted by the terms.The construction of the ontology was done using Protégé, the most widely used environment for building ontologies in the W3C format (RDF/OWL). As the notion of essential characteristic does not exist in Description Logic, it was necessary to translate them. We have proposed some principles to this end. The terminological dimension was reduced, as is often the case, to annotations (in SKOS, RDFS) on the concepts. The TAO CI ontology is linked to external resources such as CIDOC CRM and ATT Getty for the conceptual part, and to museums for the objects. Finally, the TAO CI ontology was evaluated from the point of view of the domain (coverage) and its implementation. The ontology is in open access at the following address: http://www.dh.ketrc.com/otcontainer/data/OTContainer.owlThe last phase of the project consisted in the creation of a dedicated website. This site provides access to the different resources of the project and in particular to a bilingual (English, Chinese) electronic dictionary of the vases of the Ming and Qing dynasties. The dictionary entries correspond to the OWL classes of the ontology: http://www.dh.ketrc.com/The TAO CI ontology is, to our knowledge, the first open and reusable ontology in the format of the semantic web of Chinese ceramic vases. It is an illustration of an approach guided by terms and essential characteristics that can be applied to the construction of ontologies in other areas of Chinese cultural heritage

In 2010, Ai Weiwei's Sunflower Seeds made its debut in Tate Modern, which promoted Ai to be one of the most famous and respected contemporary Chinese artists. This Conceptual art work has multiple layers of meanings, which all corresponds to the Western expectations for a successful contemporary Chinese artist. In fact, the Western art world has long held bias and stereotypes towards international artists. Ai chose to perform his personality to conform to the expectations and Western ideologies, which brought him international fame. On the other hand, other Chinese artists, including Cai Guo-Qiang and Zhou Chunya, don't totally agree with these Western ideologies, and therefore their fame in the society are less distinguished than Ai.

Le présent travail porte sur les échanges artistiques entre l’Iran et la Chine observés sur le textile et la céramique du 13e au 14e siècle. Les discussions dans cette étude s’appuient sur une analyse des caractéristiques de transferts connus : par exemple, existence de transfert technique, relation entre deux véhicules (textile et céramique) des échanges artistiques et propre intention des Mongols. Trois parties composent ce travail, d’après les différents corpus. Les deux premières se consacrent séparément aux corpus de textiles concernant le textile à fil d’or et celui de céramiques. La première partie comporte un catalogue des spécimens textiles et d’analyser les changements artistiques. Dans la deuxième partie, l’examen scientifique permet d’évaluer l’échange technique potentiel. Dans la dernière partie, deux groupes de motifs (motifs représentant l’autorité et motifs de scène de chasse) sont comparés sur les spécimens textiles et céramiques. Le transfert de ces motifs concrets dévoile des relations culturelles essentielles entre des peuples non-sédentaires (les Khitan, les Jurchen et les Mongols) au nord de l’Asie. En conclusion, les différences entre les échanges artistiques représentés sur le textile et ceux sur la céramique montrent une une contradiction avec l’idée que le textile soit un médiateur de la céramique ilkhanide pour le transfert artistique. Ces différences sont fondamentalement liées avec les charactéristiques de la nature et les qualités sociales de chaque matérial. Dernièrement, l’intention des dominants mongols, comportant des successions culturelles de peuples non-sédentaires, est représentée par les échanges artistiques à l’époque
This paper presents studies on the artistic exchanges between Iran and China observed on textiles and ceramics from the 13th to 14th century. It presents detailed analysis of three important characteristics of the artistic transfers : namely the existence of potential technique transfer, the relation between the two materials (textile and ceramic) during the artistic exchange, and the intention of the Mongols, based on existing corpus The first part of paper is devoted to textile corpus, particularly the textile with golden thread, featuring a catalog of textile samples. The second part presents in depth discussions of the ceramic corpus and questions the potential technical exchange of pottery , followed by comparisons based on actual data. The third part presents comparisons of the patterns observed in both textiles and ceramics specimens, suggesting that the transfer of the concrete motifs reveals the essential cultural relations between the non-sedentary peoples (the Khitan, the Jurchen, the Mongols) of northern Asia. The conclusions of the studies are threefold. First, the technical transfer can be only confirmed in the textile domain. Second, the differences of the artistic exchanges between the textile and the ceramic are closely related to the natural characteristics and the social value of each material, which challenges the previous idea that the textile would be considered as the mediator for the Il-khan ceramic during the artistic transfer. The last but not the least, the cultural relationship between the non-sedentary peoples is clearly represented by the artistic exchanges under the domination of the Mongols

De nos jours, la transmission du patrimoine culturel immatériel reste une problématique internationale qui touche à la fois la question de conservation de notre passé et la question actuelle du développement de l’économie créative. Cependant, cette transmission se réalise à travers de différents biais éducatifs, qui pourraient être formels ou non formels, qui pourraient viser à former les professionnels ou les amateurs. Cette présente thèse a choisi le patrimoine artisanal et sa transmission comme le sujet de recherche, avec une attention particulière portée sur les formations formelles et non formelles, qui sont considérées comme les dispositifs de transmission professionnelle du patrimoine artisanal, le chercheur s’est approché vers un terrain spécifique, celui de l’artisanat de la céramique et a mené une étude comparative sur les formations formelles et non formelles, organisées dans les deux sociétés contrastées dont celle de la Chine et celle de la France, qui transmettent cet artisanat. En analysant les discours de 28 céramistes dont 14 céramistes indépendants (7 Chinois et 7 Français) et 14 céramistes salariés (7 Chinois et 7 Français), cette thèse vise à faire comprendre quels sont actuellement les modes (formels et non formels) de formation professionnelle en artisanat de la céramique, les plus respectivement favorisés par les céramistes praticiens en Chine et en France. Des perspectives sont dégagées sur les similarités et les écarts dans les comportements et les routines des activités de transfert, d’appropriation des savoirs et des savoir-faire concernés et de création à partir des savoirs et des savoir-faire transmis de chacun des modes de formation, employés dans ces deux contextes sociaux dissemblables que sont ceux de la Chine et de la France
Today, the transmission of intangible cultural heritage remains an international issue that touches not only the preservation of the past but also the practical question of the development of creative economy. However, this transmission can be realized via various educational channels, whether it is formal or non-formal, which could aim to train professionals or amateurs. This thesis decided to choose the artisanal heritage and its transmission as the research subject, with a particular focus on formal and non-formal formations, which are considered as devices for the professional transmission of the artisanal heritage. The author advanced the topic towards a specific field, that of the craft of ceramics and carried out a comparative study on formal and non-formal formations, organized under the context of two contrasting societies, that of China and France, which transmit this craft. By analyzing the talks of 28 ceramists, including 14 independent ceramists (7 Chinese and 7 French) and 14 ceramists-employees (7 Chinese and 7 French), this thesis aims to offer a clear understanding on what are the prevailing modes (formal and non-formal) of vocational training in the craft of ceramics, that favored mostly by the ceramic practitioners in China and France. Observations and perspectives have been made on the similarities and differences in terms of practices and routines of transfer, acquisition, and creation of knowledge and the know-how of each of the training mode, adopted under the different social contexts of China and France, which are marked by sharp contrasts

ECLAIRs, l'imageur à rayons X dur de la mission sino-française SVOM, est dédié à la détection et à la localisation en quasi temps réel de sources transitoires cosmiques dans la plage d'énergie allant de 4 à 150 keV. Cet instrument est une caméra grand champ, munie d'un plan de détection pavé de 6400 détecteurs Schottky CdTe, qui permet de créer des images du ciel en rayons X durs grâce à un système de localisation appelé " masque codé ". Les travaux exposés dans ce manuscrit détaillent la conception, la réalisation et la mesure des performances de modules hybrides de 32 détecteurs lus par un ASIC (appelés modules XRDPIX), qui constituent les briques de base du plan de détection, et qui permettent d'atteindre des performances inégalées pour ce type d'instrument avec un seuil en énergie égal à 4 keV. Après avoir posé la problématique de détection des sources cosmiques transitoires en rayons X, en s'appuyant sur le contexte astrophysique de la mission SVOM, puis détaillé son instrument principal, j'expose, dans ce mémoire de thèse, mon travail sur la réalisation de grands plans de détection pixélisés pour l'astronomie gamma, avec en particulier ma contribution à l'étude et à la réalisation du module XRDPIX. Le développement des modules XRDPIX, fait appel à la fois à une conception faible bruit et à l'utilisation de technologies innovantes. Les détecteurs CdTe sont polarisés jusqu'à -450V et régulés à basse température (nominalement 20°C) afin de minimiser le courant de fuite et de limiter les effets de polarisation. Le seuil bas en énergie requis pour la mission spatiale est atteint grâce à une caractérisation approfondie des éléments constituant les 200 XRDPIX de vol, qui forment la caméra ECLAIRs. Je présente de façon détaillée les caractéristiques physiques et technologiques de ces modules, les différentes étapes de leur développement, en justifiant les solutions et les compromis techniques qui ont jalonné leur fabrication. Ensuite, en me basant sur un échantillon statistique abondant, obtenu lors des nombreux tests et qualifications réalisés sur plusieurs centaines de modules et sous-modules, j'expose les résultats de mesures qui démontrent les excellentes performances du module XRDPIX, en termes de résolution spectrale, de seuil bas en énergie, de gain et de comptage. Des études annexes sont également montrées, afin de compléter la validation des XRDPIX par l'analyse de l'influence de divers paramètres physiques sur les performances, comme par exemple la température. En conclusion, grâce à ces analyses de données abondantes, et à des modélisations du bruit total équivalent, je propose des réglages optimaux pour deux paramètres de configuration clés : la valeur de polarisation pour la haute tension et le peaking time, qui permettent d'obtenir le seuil en énergie de 4 keV exigé par la mission SVOM, avec une bonne uniformité sur l'ensemble du plan de détection. Finalement, je présente ce retour d'expérience, couplé à l'étude des paramètres clés qui déterminent la sensibilité d'un imageur grand champ dans le domaine des X durs (surface de détection, gamme d'énergie, champ de vue, ...), ce qui m'amène à proposer des pistes pour la réalisation d'instruments ambitieux avec des gains en sensibilité significatifs dans le futur
ECLAIRs, the hard X-ray imager of the Chinese-French SVOM mission, is dedicated to the detection and localization in near real-time of cosmic transient sources in the energy range from 4 to 150 keV. This instrument is a wide field camera, equipped with a detection plane paved with 6400 CdTe Schottky detectors, which allows to create hard X-ray images of the sky thanks to a localization system called "coded mask". The work presented in this manuscript details the design, the realization and the measurement of the performances of hybrid modules of 32 detectors read by an ASIC (called XRDPIX modules), which constitute the basic bricks of the detection plan, and which make it possible to reach unequalled performances for this type of instrument with a threshold in energy equal to 4 keV. After having posed the problem of detection of transient cosmic sources in X-rays, based on the astrophysical context of the SVOM mission, and then detailed its main instrument, I present, in this thesis, my work on the realization of large pixelated detection plans for gamma-ray astronomy, with in particular my contribution to the study and the realization of the XRDPIX module. The development of the XRDPIX modules, calls for both a low noise design and the use of innovative technologies. The CdTe detectors are biased down to -450V and regulated at low temperature (nominally 20°C) in order to minimize the leakage current and to limit the polarization effects. The low energy threshold required for the space mission is reached thanks to a thorough characterization of the elements constituting the 200 flight XRDPIX, which form the ECLAIRs camera. I present in detail the physical and technological characteristics of these modules, the various stages of their development, justifying the solutions and technical compromises that have marked their manufacture. Then, based on an abundant statistical sample, obtained during the numerous tests and qualifications carried out on several hundreds of modules and sub-modules, I present the results of measurements which demonstrate the excellent performances of the XRDPIX module, in terms of spectral resolution, low energy threshold, gain and counting. Additional studies are also shown, in order to complete the validation of the XRDPIX by analyzing the influence of various physical parameters on the performances, such as temperature. In conclusion, thanks to these abundant data analyses, and to models of the total equivalent noise, I propose optimal settings for two key configuration parameters: the bias value for the high voltage and the peaking time, which allow to obtain the 4 keV energy threshold required by the SVOM mission, with a good uniformity on the whole detection plane. Finally, I present this feedback, coupled with the study of the key parameters that determine the sensitivity of a wide field imager in the hard X-ray domain (detection area, energy range, field of view, ...), which leads me to propose avenues for the realization of ambitious instruments with significant gains in sensitivity in the future

碩士
逢甲大學
歷史與文物管理所
100
Siberian regional museums store a considerable amount of Chinese ceramics, however, up until now these collections have not been given enough attention among researchers, and thus are lacking in academic publication. For this reason, Chinese ceramics collections preserved in Siberian museums, represent an important topic for research. This paper discusses the artistic, historical and cultural value, as well as the importance of Chinese ceramic collections from three Siberian museums, namely the Tomsk Museum for Regional Studies, Omsk Vrubel M.A. Regional Museum of Fine Arts and The Bianki Biysk Museum. In order to identify the importance of the mentioned collections within, the author analyzed multiple features of the ceramic objects, such as the type of the ceramic, shape of the object, applied ornamental techniques, and the date of the works. The research is based on comparing Siberian exhibits to the collections stored in other museums, or belonging to private collectors. The author also analyzed museum archives and Russian custom data, research related to the ancient Chinese ceramics, as well as the history of trade, diplomatic and cultural relations between Russia and China. The Chinese ceramics collected in the aforementioned Siberian museums is not only shown to have abundant artistic value, but also represent a legacy of trade and cultural relations between Russia, especially the Siberian region, and China within the period from the XVII to the early XX centuries.

碩士
國立臺灣大學
藝術史研究所
107
This study explores the development of sahari bronze, a type of high-tin bronze, and its influence on ceramics in Northern and Southern Dynasties. While sahari bronzes showed typological and stylistic differences from traditional Chinese bronze, the use of lathe in its manufacturing process is one of the distinguishing features that defines this unique metalcraft. By comparing sahari bronze to Han dynasty bronze and then to high-tin bronze artifacts from other regions in Asia, I propose that the origins of sahari bronze are from: (i) the local high-tin bronze industry of China; (ii) Gandhara region; (iii) west and central Asia. The influence of Gandhara region and west and central Asia on sahari bronze also reveal cultural exchange between China and other regions in medieval period. Technical traits of sahari bronze suggest that it might have been developed for specific purposes and under particular social circumstances. I argue that "tou" and "tou-shi" from medieval literature were referring not only to brass but also to sahari bronze. Given that most of tou-shi utensils are related to Buddhism, I believe the sahari bronze technique was used for Buddhist metalcraft. Furthermore, sahari bronze was established in a period that coincides with the spread of western precious metalware, and some characteristics of sahari bronze, such as lightness and surface brightness, mimic gold and silver vessels. Therefore, I argue that sahari bronzes served as substitutes for precious metalware, and their development was very likely stimulated by gold and silver vessels. Finally, I will focus on distinctive artifacts as case studies to explain the influence of sahari bronze on ceramics. Using archaeological and visual evidence, I conclude the long-necked water bottle, with its Buddhist symbolism, had its roots in India, and was introduced to China through transmission of Buddhism. The high-footed round and deep concave bowl and cup, another widespread artifact type from the same period, exhibit stylistic attributes similar to forged gold and silver vessel, and might have its prototype derived from western precious metalware. The phenomenon of ceramic and sahari bronze sharing the same stylistic features of gold and silver vessel reflects prevalent trends of precious metalware in Northern and Southern Dynasties.

In 2014, mainland Chinese collector Liu Yiqian bought a Ming dynasty Chenghua-period chicken cup from the European-based Meiyintang collection, at a Sotheby’s auction for US$36 million. The record-breaking price brought public interest to the chicken cup which was well-known in antique collecting circles. The sale focussed attention on the topics of the Chenghua era, Western collectors, and the contemporary mainland Chinese buyers. This thesis examines these three areas to discover the rich and complex representation of the chicken cup over its lifespan of more than 500 years. The study analyses the chicken cup’s transformation from a wine vessel to a collectable antique, and from a work of art to the ‘Holy Grail’ among today’s collectors. Art historical methodologies are employed to assist the discussion in this thesis, including theories of iconography, material culture, biography and social history, connoisseurship and philosophy of aesthetics. The study reveals that the chicken cup often speaks on behalf of extant chicken cups and other antique treasures. Importantly, it epitomises a complicated imperial narrative, provides evidence of the development of Western taste in Chinese aesthetics and exemplifies the ardent pursuits of contemporary mainland buyers. The multifaceted significance demonstrated in this research attempts to fill the academic gap for this eminent piece of historical porcelain, acknowledging the necessity of using multiple viewpoints to adequately evaluate its place in history. This offers a model for application to investigate other forms of Chinese art.

碩士
國立臺灣大學
藝術史研究所
102
In terms of the exchange and influences between art crafts, a special interest in Chinese ceramic imitations of Western glassware grows in the past two decades. Based on such scholarly foundation, this paper aims at a comprehensive study on how influences from other crafts, here the imported glassware in particular, inspire and enrich the stylistic repertory of Chinese ceramics, from Tang to Song dynasties. During this period, the development of aesthetics and production techniques for Chinese ceramics has reached its first peak. This paper collects and examines reliable examples of ceramic imitations and their glass prototypes, which can be divided into three groups via their styles and techniques. Also, this paper clarifies what traits of Western glassware were chosen and adapted by Chinese potters to their works. Furthermore, the development of local glass industry, the import of Western glassware, along with status of both local and imported glass works in contemporary Chinese society, are explored to shed light on the reason why Chinese potters chose to imitate imported Western glassware alone. The issues of exchange between different crafts and cultures, and their significance, are also main concerns.

碩士
國立臺南藝術大學
藝術史學系藝術史與藝術評論碩士班
103
Abstract There are many archaeological investigations about Kinmen County in South Fujian around Jiu Long river estuary accumulating the references of ancient ceramic research. Lieyu Island located in the southwest side of the island of Kinmen is geographically close to southern Fujian Province. The ceramics found in Lieyu Island give much valuable information for the research of ancient ceramic. This study focused on the Chinese Son and Yuan dynasties ceramics found in Lieyu Island. The author would try to decipher the information form these ancient ceramics and the relationship between these ceramic sherds and the early history of ancient Lieyu Island. This thesis consists of four chapters. The first chapter includes research motive, purposes and method of study. Chapter two reviews the research of historical documents and archaeology investigation which the scholars had done before, and analyzes the geographic location and settlements of the Lieyu Township’s during the Song and Yuan dynasties. Chapter three focus on the analysis the Chinese Song and Yuan dynasties ceramics found in Lieyu Township. In chapter four, the author mainly discusses the ancient ceramic trade pattern during the Song and Yuan dynasties. Finally, the author compares the deference in the Song and Yuan ceramics between the Lieyu and Penghu Islands. The above study not only reveals the value of these Chinese ancient ceramics found in Lieyu Township but also shows the material cultural and the early development history of the Lieyu Township’s.

碩士
國立嘉義大學
視覺藝術研究所
95
Abstract Lotus and Freedom of Mind：a study for the Integration between Ceramics and Chinese Ink Painting by Wen-Yueh Lin. Focusing on the subject matten of lotus, this study attempts to combine the arts of Chinese traditional ink painting and ceramics－integrating their matenial,technique,ideas, and ways of expression.The methods include：historical approach,observation for artistic productionand action research. In the process of action research, the author refbected on his own experiences of artistic production, and adjusted his ways of creation. There are five chapters in this thesis： In Chapten 1,the motivation and purpose of the study, methods and process, terms and scope and stated. In Chapten 2, theoretical foundation, the study applied historical approach to make a comparison between related literature and works.The goal is to historically reflect on traditional Chinese art paradigm.The research draws on the impact of the Zen，Tao and Confucian thoughts on arts creation. In Chapten 3, Ideas of Creation, With methods of action research and observation, the author reflected on his own life experience, visual experience and painting of Lotus and tried to discover subject matten, content and form to express. Besides, the research made a distinction between Chinese ink painting and pottery paintings, both on the skills and material. In Chapten 4, Analysis on Works,the author analyzes his own works, experiences of artistic production, and related issued. In Chapten 5, Conclusion, the arthor summed up the findingo and etated the prospectives

碩士
華梵大學
工業設計學系碩士班
102
Abstract Beautiful things are easy to be seen in daily life.The daily appliance is not the material property to present peoples’ econnomic status and fortune in public .In fact ,it stands out the true meaning for our life. Nowadays, people are in rush pace in the city jungle ,and the things we approach are fast-made and lifeless .Therefore ,the research tries to delight the mood through creating artworks. Also ,the artworks provides the joy and humor sense by combining puns for people. Pleasure of youth,smiles on sick children and participation of educators are the foundation of this study.The study attemps to discover the motivation and rationale behind the creators’ artworks through appreciating the available art products. Moreover,the researcher integrated the successful points of the artworks with her original ideas to create innovative and alternative series of products. Esthetics is kind of subjective expression and unique presentation,This study based on researcher’s own experience in her childhood combined The Twelve Chinese Zodiac with puns of rhetoric and techniques of ceramic artworks to design humorous and fascinating models for overturning the image of long-standing daily appliance with originality.The study aims to analyze how the design of The Twelve Chinese Zodiac works ,in order to level up the living standard among people and present the public artworks, the research tried to make the art living and live in art at sametime. Keywords: The Chinese Animal Zodiac, puns inside rhetorical, technique of ceramic artworks

碩士
玄奘大學
視覺傳達設計學系碩士班
101
There are a variety of media used in the art and modeling of Chinese calligraphy as well as painting. Turtle shells and animal bones, the “oracle bone script”, were used for writing from the Shang Dynasty to Western Zhou. When the Qin Dynasty united China and set rules for characters, bamboo and wooden slips were in great use. Books copied on silk date back to the Han Dynasty, and stele inscriptions prevailed during the Han and Wei Dynasty. The development of ceramic ware took shape in both dynasties, but the application of Chinese calligraphy on ceramic ware did not become more mature until the Tang and Song Dynasty. Until today, Chinese calligraphy art has evolved into a diversity of styles. This thesis aims to explore Chinese calligraphy and its application on sculptures and engravings by adopting painting techniques. Chinese calligraphy is applied on the flat or 3D clay body of ceramic ware to present the beauty of Chinese characters in paintings as well as the beauty of ceramic painting. Also, the painting “Nature of Sculptures and Paintings (Engraving and Painting)” is colored with oxide pigments such as glaze paint, in hopes to present the painting’s visual effects and displaying its practical utility as well as aesthetic appreciation. This thesis is written on the basis of ceramic ware with four different Chinese scripts engraved and painted on them through different techniques and in different glaze colors, and makes an analysis of the artistic effects produced by such samples of creation. Furthermore, a questionnaire survey is conducted to understand how users like each Chinese script style and each engraving and painting technique. This is the purpose of the thesis. Through the creation process and questionnaire survey analysis, it is discovered that people prefer seal script engraved and painted on celadon ware the most, and the most popular arrangement of glaze color and Chinese script style is the combination of clerical script and semi-cursive script in gold color written on a black background. Furthermore, ceramic ware engraved and painted with Chinese script, considered as a creative element, features practical as well as aesthetic values, and expresses the unique philosophy and emotions of the Chinese people. The artistic quality of scripts engraved on ceramic ware is a result of uniting four Chinese script styles—regular script, clerical script, cursive script and seal script, the rhythmic beauty created by the pressure and speed a calligrapher gives to a stroke, and the beauty of spatial arrangement on the small surface of ceramic ware. The blade technique, spatial arrangement and overall design of these artworks take a great deal of consideration, in hopes of producing one-of-a-kind beauty. Countless scholars and gentlemen have devoted themselves to such artistic creations from ancient times and therefore created the beauty of oriental art that we can be proud of.

博士
國立臺灣師範大學
美術學系
102
The close relationship between pottery art development and human civilization dated back to ancient time. People make use of natural materials to pursue and create, not only for the sustainability of livelihood, but also to develop their own unique cultural appreciation of beauty. Pottery glazes are the crystallization of wisdom from thousands of years of precise creation by potters using natural raw materials. In Korea for example, traditional potteries were mainly colored in blue and white. The most symbolic representation of these was the turquoise “Koryo Celadon”, which were used by aristocrats, and the “Joseon White Porcelain”, which were used by civilians. My study aims to break through the creative forms of traditional Chinese painting and transfer it to creative ceramic arts and researches on pottery glazes. In the course of artistic creation of decorative potteries, I experimented with color variations of natural mineral colors by measuring glazes and trying different processes of firing. I also attempted to integrate traditional Chinese painting with an artistic creation of decorative potteries. This paper is my personal exposition of the integration of Chinese ink painting on pottery and porcelain. I will also discuss the relationship between the glazes used on clay and treatment of the clay bricks. The differences in mineral pigments affect the techniques of applying glazes, such as over-glaze and under-glaze. Also, the temperatures of bisque, the kiln and the fired products are important. The greatest challenge of transferring Chinese painting into pottery decoration was the anticipation of each stage, especially when accurate concoction of glazes was the key to producing the various different colors of glazes desired. The main materials for pottery painting in this study were clay, glazes and stains. In order to emphasize how Chinese painting could be applied on ceramic materials, I used a variety of different color glazes to present my personal “Earth and Fire” series of pottery paintings. I also experimented with shapes of clay bodies, concocted glazes, mill glazes, ceramic painting techniques and temperature control. I would like to make a breakthrough to transfer Chinese painting into pottery painting and apply glazes precisely to show my individual creative works in expanding ceramic materials for broader expressions.

The dissertation follows the trajectory of one of the commodities of the transpacific trade, Chinese porcelain, from the city of Jingdezhen where it was produced, to Manila where it was sold to Spanish merchants, on to Mexico, where it was adopted by the colonial society. The study ends in the city of Puebla where potters drew inspiration from Chinese porcelain for the invention of a new ceramic style known as loza poblana. The methodology of following the trajectory of Chinese porcelains through various sites reveals a new kind of history, one where the tactile aspects of the circulation of goods become salient. The places, contexts, and transactions that the commodities passed through are more prominent--the trade is no longer an abstract exchange between different parties or an endeavor driven purely by imperial greed. Instead it emerges as a process that developed from an interaction between global material forces and local histories and contingencies. Such a tactile history also provides details about the movement and transfer of aesthetics in the early modern period, as seen in the case of the design of the Chinese guan, a jar form, that was adapted to make the Mexican chocolatero.

In this dissertation I assess craft production during China’s contentious Northern Wei (or Beiwei) Dynasty (398-494 CE) from both technological and cultural perspectives. The Northern Wei were a “foreign” Xianbei ethnic group who imposed their rule over north China for almost a century. I combine materials analyses of architectural ceramics excavated at royal building sites in the dynasty’s capital city of Datong with historical texts to understand the environmental, political, ethnic, religious, and technological forces that shaped production. I conclude that production processes reflect the complex interaction of new political and religious ideas and practices with longstanding craft traditions. Analyses of mineral and chemical composition of architectural ceramic samples by petrographic thin section and instrumental neutron activation analysis show that artisans selected and processed raw clay materials to achieve certain technical properties, such as low-shrinkage, required for final products. They maintained and refined established techniques such as using molds to facilitate forming of the clay body, and employed downdraft kilns to maintain steady firing temperatures, as shown in thermal expansion tests. They also introduced new techniques such as methods of burnishing roof tiles to increase water resistance. Decorative changes, such as the appearance of lotus patterns on roof tile ends, reflect the expansion of Buddhist influences, underscoring that royal building materials also carried significant political and ritual power in addition to their functionality. These Beiwei materials also reveal details about craft organization: inscriptions found on roof tiles complement details from historical texts, suggesting that ethnic Han artisans worked in construction projects for their new Xianbei rulers. The lack of skilled artisans at this time of constant warfare forced the rulers to adopt a special household-based structure to control and maintain non-Xianbei artisans at a certain social level. With time, these artisans were able to use their skills to gain economic independence and a certain level of management over their production. Architectural ceramics reveal intertwined economic, social, and political variables that played crucial roles in the technological choices and organization of production during this key transitional period of China’s early medieval history.

This research examines ceramic collections from overseas Chinese mining settlements in southeast New South Wales, including those from Jembaicumbene, Flanagan's Point, Upper Adelong, Adjungbilly, and Kiandra. The analysis seeks to identify differences within and between these settlements, which were occupied from the mid-nineteenth to the early-twentieth century. In addition, collections from non-Chinese sites in the same region are compared to those of the Chinese. On a broader scale, the research considers the nature of Chinese supply networks. This dissertation uses traditional and non-traditional methods of ceramic analysis to answer major questions, which expand the archaeology of Chinese in Australia. The analyses enable conclusions to be drawn about the active role of vessels in everyday life, not only within the domestic sphere but also in communal aspects of food and feasting. This research provides an understanding of the broader social and economic characteristics of the Chinese population, through the assessment of the differing roles of specific buildings, such as temples, communal ovens and stores, as well as the variation over time in the domestic use of vessels. The analyses provide an insight into the Chinese supply of ceramics and foodstuffs and demonstrate how Western-style ceramics became appropriate substitutes, as those systems changed. This research is the first intra-site analysis of Chinese camps in Australia and also the first to compare contemporary ceramic assemblages from Chinese and non-Chinese sites in the same region. Furthermore, compositional analysis of Chinese sherds has added another dimension, as it has shown that visual similarities do not necessarily relate to chemical similarities. It was previously thought that all brown-glazed storage jars on overseas Chinese sites were made in southern China; but this research, reveals that some of these vessels may have come from northern China. This research has looked beyond the total and highlighted short and long-term occupation sites. These camps were not homogenous or static settlements, they changed over time.
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碩士
國立臺灣藝術大學
書畫系造形藝術碩士班
103
Abstract The title of the thesis: “When the Black or White”, Virtual Real or Real Virtual – Abstract Painting by Mixing Calligraphy, Chinese Ink and Ceramics Materials by the author Yi-ting Lai is a discourse on personal experimental creation in 2012-2015. With the personal perspectives of viewing nature’ vast skies, lamenting the impermanence of life, and realizing the pain of being separated in life and by death, the author employed the queries and remarks cited by oriental philosophy, the Lao-Zhuang (Laozi and Zhuangzi) school of thought, Zen (Buddhist) theory, along with Western aesthetic theory and ideas that combined nature and mind as the source of creation. The author pictured the possibility of modern abstract painting by mixing calligraphy, Chinese ink, and ceramic materials experimentally with specific skills in association with the preceding theory. First, the experimental means applied to mixing the materials. The means of spray, monotype, dripping and hand drawing applied to calligraphy and Chinese ink. The means of rollover and slab and coil molding applied to ceramics. The composition and modeling followed the abstract aesthetics of space stressed by Virtual and Real in When the Black or White in addition to the mixing axle of organic linear rhythm and series connections. The visual experience of the Zen image was expected to trigger resonance in the audience and move them with the static visual stimuli. Chapter 1: Introduction: Motive, aim, framework and methodology are laid out. Chapter 2: Theory (Literature review): Oriental philosophy, namely Lao-Zhuang ideology and Buddhist theory serve as the basis. The main axle of the personal creation is covered by the virtual real dialectical aesthetics as stated in Yin-yang Theory, the Book of Changes (Yi), Being and Nothingness in Laozi’s Book of Ethics (Morality), dualist transcendence in Emptiness and Being of Zen and Buddhism, and virtual real discourse by When the Black or White of Deng Shi-ru as the oriental fundamental theory, and Wassily Kandinsky’s point and line to plane theory and Henry Spencer Moore’s virtual real sculpture as the fundamental Western theory. Chapter 3: Virtual Real and Theory of Space in Abstract Art: The virtual real and abstract ideas apply to illustration and interpretation. Theory of space applies to abstract art in the East and West and to investigation of abstract presentation of artists in the East and West. Chapter 4: Ideology of Creation: black and white in calligraphy refer to Yin and Yang, i.e. Virtual and Real. The three media of calligraphy, Chinese ink, and ceramics apply to the creation in an abstract form of virtual real and real virtual When the Black or White. Finally, the artwork was presented by mixing the three. Chapter 5: Procedures of Creation: A detailed elaboration applies to presenting the material employed and research on procedures and skills concerned, form of creation and way to present the theme and composition, and process of creation. Chapter 6: Illustration of Artwork: Calligraphy refers to a point and 1D line and 2D planar abstract form. Chinese ink refers to a 2D planar abstract form. Ceramics refers to a 3D abstract form. The significance of artworks, form of content, and skill of expression are queried by mixing the three in creation. Chapter 7: Concluding Remarks: The remarks on 5 dimensions are concluded as follows: 1: The characteristics and artistic value of the artworks created by mixing calligraphy, Chinese ink and ceramics; 2: What is acquired and perceived during creation; 3: Objectives achieved or not throughout the process; 4: Flaws and difficulties in the process; and 5: Future development and reflections, and plan for creation.