Journal articles on the topic 'Chinese ceramics'
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1
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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Shin, Juhye. "Ming and Qing Dynasty ‘Hundred Antiques(bógǔ)’ Export Ceramics for the European Market in the Seventeenth and Eighteenth Centuries." Korean Journal of Art History 313 (March 31, 2022): 121–54. http://dx.doi.org/10.31065/kjah.313.202203.005.
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This paper aims to examine the aspects of a particular design that appears on Chinese export porcelain produced for the European market in the seventeenth and eighteenth centuries of the Ming and Qing dynasties. The bogu design portrays bronze vessels or other ancient objects as the central component supplemented by auspicious subjects such as scholar's accoutrements(文房淸玩) and the eight treasures(八寶). The specific elements included in the design and the overall composition changed throughout the seventeenth and eighteenth centuries. These changes can be categorized into three distinct types and periods. Chinese bogu ceramics exported to Europe also had an effect on the ceramic production of its destination. The European reproduction of bogu ceramics took form in two ways. The first is a faithful imitation that strived to emulate the exact shape, design, and style of the Chinese ceramics. The second is a departure from the original as it incorporated elements of European taste. Most notably, the combination of 'bogu' elements with aspects of Chinoiserie and European still-life paintings, as seen during the transformation stage of Chinese bogu ceramics, was a significant development that emerged as a new trend in European ceramics.
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Pally Taran, Jovial. "IMPORTANT FINDINGS OF DISTRIBUTION OF CERAMICS IN LAMREH AND UJONG PANCU, ACEH." Indonesian Journal of Islamic History and Culture 2, no. 2 (November 30, 2021): 309–28. http://dx.doi.org/10.22373/ijihc.v2i2.1334.
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Research by the Aceh Geohazard Project (AGP) at the International Center for Aceh and Indian Ocean Studies (ICAIOS), in collaboration with the Earth Observatory of Singapore (EOS), in 2015-2017, showed that there was an important distribution of ceramic fragment artifacts along the coast. the coast of Aceh, especially in the Bukit Lamreh area to the coast of Ujong Pancu. The method used in this study is in the form of observation and recording of archaeological data by recording each type of ceramic shard artifact finding from the type of material and form and art style, then recording with photography and analysis of the findings. The ceramic shards found in Lamreh Hill are dominated by Chinese green ceramics, and the rest comes from ceramics produced by Thailand, Burma, Vietnam, India and Syria. Most of these findings are ceramics from the early 13th century AD to the late 15th century AD. Meanwhile, on the coast of Ujong Pancu, variations of ceramics dominated by China were found from the period 12-19 AD, although various types of ceramics were also found from Thailand, Vietnam, Japan, Burma, even Europe. The discovery of the distribution of ceramics in these two important locations indicates a significant maritime route activity between Aceh and several other kingdoms, especially the Chinese dynasty. This proves that Aceh already has its own civilization even since 1000 years ago, through the discovery of the ceramic shards.
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Kim, Eun-Kyoung. "Expansion of Japanese Ceramic Industry in Manchuria and Colonial Exploitation in the Early 20th Century." Korean Journal of Art History 321 (March 31, 2024): 101–27. http://dx.doi.org/10.31065/kjah.321.202403.004.
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Towards the end of the Qing Dynasty and into the early Republic of China, the ceramics industry, a vital component of China’s economy, faced stagnation. In response, the central government embarked on modernization efforts to rejuvenate the industry, achieving tangible progress such as establishing modern systems through the Porcelain Company. Despite these efforts, Japan aggressively exported goods to China, aiming to expand its trade and dominate the Chinese market. Additionally, the ceramics department within the central laboratory of the South Manchurian Railway Company was established to mass-produce ceramics for heavy chemical use, utilizing resources from Manchuria to meet the substantial material demands for foreign invasions. Furthermore, modern Japanese apprenticeships were extended to Chinese laborers to meet the daily ceramic needs of Japanese residents in the northeastern region. Thus, on the surface, the ceramics industry in the Northeast appeared to have expanded in various aspects.The Chinese ceramics industry underwent significant changes in production scale, distribution, technology, and infrastructure. However, these developments were not the result of natural growth but rather arose from the allocation of raw materials and products essential for Japan’s ceramics sector. Moreover, they were fueled by the harsh exploitation of laborers in the northeastern ceramics industry, serving as a key aspect of Japan’s broader strategy of mass colonization.
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Zhang, Xin, Shuang Zheng, Hai Yan Liu, and Yong Duo. "Accounting and Analysis of CO2 Emission from Ceramics Industry." Applied Mechanics and Materials 535 (February 2014): 226–29. http://dx.doi.org/10.4028/www.scientific.net/amm.535.226.
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It is great significant to make clear of CO2 emission from ceramics industry in China because China is an important country producing ceramics. Unfortunately, few works on the accounting and analysis of CO2 emission from Chinese ceramics enterprise have been reported so far. In this work, the accounting methods of CO2 emission from Chinese ceramic industry were developed and used to calculate CO2 emission from the ceramics enterprise A and B. The results showed; the total CO2 emission of enterprise A was ca. 55227.6 tCO2 in 2012 and that of enterprise B was ca. 58428.9 tCO2. These enterprises were the key CO2 emission enterprise that should control their emission in China. CO2 emssion of these two enterprises mainly came from fossil fuel combustion and the electricity consumption for ceramics production. The distribution of direct emission and indirect emission was dependent on the conditions of energy consumption.
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Redlak, Małgorzata. "Egyptian imitations of Chinese celadon from the 13th–15th centuries from Kom el-Dikka in Alexandria." Polish Archaeology in the Mediterranean 26, no. 1 (July 9, 2018): 59–84. http://dx.doi.org/10.5604/01.3001.0012.1769.
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In Islamic Egyptian glazed ceramics there are three ceramic types inspired by Chinese pottery, stoneware and porcelain: sancai pottery, celadon stoneware and Blue and White porcelain. Egyptian imitations of Chinese celadon ware, produced in the 14th and 15th centuries mainly by Cairene potters working at the Fustat workshops, are particularly noteworthy and the Kom el-Dikka site in Alexandria, excavated by the Polish Centre of Mediterranean Archaeology University of Warsaw, has yielded a collection of over 300 pieces. The typological analysis was based on 235 distinct fragments of utilitarian wares selected on account of their form, decorative elements, technical quality, possible technological defects and, first and foremost, characteristics that qualify them as imitations of Chinese celadon. Two typological ware groups were distinguished: those inspired by Chinese prototypes and those representing indigenous Egyptian ceramics infused with certain motifs copied from the Chinese celadons.
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Zheng, Qingyan. ""Jade" patterns on painted ceramics of the Neolithic era." Философия и культура, no. 7 (July 2022): 124–38. http://dx.doi.org/10.7256/2454-0757.2022.7.38404.
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Painted ceramics occupy an important place in ancient Chinese art and are the result of creative activity of people of primitive society. A large number of Neolithic patterns on ceramics are similar to those signs and symbols that were made on jade products of the same period. Such patterns resembled drawings made by hand and represented realistic and abstract ornaments, plant, zoomorphic patterns, etc. Thus, the subject of this study is the so-called "jade" patterns on painted ceramics of the Neolithic era. The object of the study are objects of painted ceramics of the Neolithic era in China. Special attention is paid to the consideration of the specifics of ceramic products, as well as the features of their decors. The semantics of images on objects of Chinese painted ceramics is complex and ambiguous. The study revealed that it is associated with the development of human thinking, people's understanding of natural phenomena, awareness of the changing seasons, as well as the emergence of animism and totemic culture. These patterns had different interpretations, while they were not only a way of expressing the feelings and experiences of primitive people, but also a way for them to record important events from life, similar to modern memoirs. Thus, the novelty of this article is its comparative nature, manifested in the comparison of ornaments of painted ceramics and ancient Chinese jade products.
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Qiang, Gu, and Akós Hutter. "Inspiration from the History of Chinese and Hungarian Building Ceramics Manufacturing Technology to Industrial Smoke Control." Tobacco Regulatory Science 7, no. 5 (September 30, 2021): 2934–37. http://dx.doi.org/10.18001/trs.7.5.1.62.
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Chinese and Hungarian architectural ceramics manufacturing technology is of the same origin, and both have certain influence in the world. In particular, Zsolnay, a Hungarian architectural ceramics brand, has made breakthroughs and innovations in the production process of products in the inheritance of more than 100 years, forming a unique architectural ceramics manufacturing technology. It can effectively reduce the concentration of flue gas particulate matter and sulfur dioxide produced in production. The historical experience of the development of building ceramic manufacturing technology in China and Hungary is of enlightenment to the current industrial smoke control.
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Fu, Rong. "Application and Expression of White Painting in Yuan Blue and White Ceramic Painting." International Journal of Education and Humanities 14, no. 1 (May 14, 2024): 389–91. http://dx.doi.org/10.54097/03bh8k66.
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Yuan blue and white ceramics, as a shining pearl in the treasure house of Chinese ceramic art, is famous for its unique artistic style and exquisite craft technology. In the painting of blue and white ceramics in the Yuan dynasty, the use of white painting techniques is particularly eye-catching. The white painting, with its simple and bright lines, Outlines the outline and verve of the image, adding a different artistic charm to the picture of the Yuan blue and white ceramics. This paper aims to deeply explore the application and performance of white painting in Yuan blue and white ceramic painting, through a detailed analysis of the characteristics of white painting technique and its specific application in Yuan blue and white ceramic painting style, reveal the richness and improvement of white painting style. At the same time, this paper will also discuss the artistic value and aesthetic significance of the white painting in the Yuan blue and white ceramics, in order to provide a new artistic perspective for readers to appreciate the unique charm of the Yuan blue and white ceramics.
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Wang, Xingqian. "Contemporary ceramic art of China: a look from the perspective of the art market." Культура и искусство, no. 8 (August 2023): 86–95. http://dx.doi.org/10.7256/2454-0625.2023.8.43723.
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The object of this research is contemporary Chinese art in the context of the latest trends in the development of the global and national art market. The subject of the study is the problem of underestimation of modern ceramic art in China and its potential from the standpoint of the art market. The history of the issue is considered, the analysis of the main directions of research development in this subject area is carried out. In addition, the article clarifies the existing concept of "modern ceramic art" in China. Special attention is paid to the analysis of the most significant modern objects of Chinese ceramics presented in the domestic art market of the country. The features of the artistic originality of the masters Li Jiusheng, Wang Silyan, Zhang Songmao, Guo Aihe are revealed. The scientific novelty of the research is connected with the development of ideas about the modern ceramic art of China, its role in the modern art market, both at the national and international levels. For the first time, the criteria for the demand for modern porcelain are revealed; the idea is stated that the problem of collecting modern Chinese ceramics remains on the periphery of scientific discourse. A special contribution is the establishment and justification of the artistic value of a number of works carried out for the first time in science, which were sold at various auctions for fabulous money. The main conclusions of the study are the following. Currently, the development of the art market indicates that experts are beginning to realize the artistic value of modern Chinese ceramics art. The greatest interest among collectors is aroused by works in the spirit of "ceramic painting" with the use of modern technologies that allow expanding the expressive possibilities of painting on porcelain. The boom in collecting modern Chinese porcelain, observed since the beginning of the XXI century, testifies to the high level of artistic execution of objects of modern ceramic art in China, as well as such qualities as innovation and non-standardness in terms of choosing themes, visual effects, expression of the author's idea, rethinking academic traditions.
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McCarthy, Blythe. "Tin in Early Chinese Ceramics." Microscopy and Microanalysis 9, S02 (August 2003): 58–59. http://dx.doi.org/10.1017/s1431927603440841.
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Gong, Bai Mao, Khunanan Sukpasjaroen, and Thitinan Chankoson. "Ancient Ceramic Culture and Technological Characteristics of Xiaopi Kiln Ceramics." Arts 11, no. 1 (February 11, 2022): 34. http://dx.doi.org/10.3390/arts11010034.
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In recent years, the Chinese government has attached great importance to the revitalization of traditional culture, and many traditional ceramic cultures have been revitalized and developed one after another. Xiaopi kiln ceramics is one of the most representative cultural symbols in Jinxi County, Jiangxi Province. Due to local economic backwardness and other reasons, the excavation of Xiaopi kiln ceramic culture has not received due attention. However, with the economic rise of Jinxi County and the people’s pursuit of cultural self-confidence, the development of Xiaopi kiln ceramic culture has been supported by the local government and people. Therefore, entrusted by the Jinxi County Government, combined with the goal of unfolding the Xiaopi kiln ceramic culture, this study uses empirical research methods to carry out sampling statistics on 115 ancient ceramics unearthed using the Xiaopi kiln technique, so as to find out the technical characteristics of Xiaopi kiln ceramics, such as shape, glaze color, decorative pattern, and firing. Through descriptive analysis, this paper summarizes the industry positioning of Xiaopi kiln ceramics, which lays a theoretical foundation for the development of the Xiaopi kiln ceramic culture industry.
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Liu, Haiying, and Yuting Xie. "From the British "willow Pattern" of Blue and White Porcelain to See the Spread of Chinese Style in the Qing Dynasty." Highlights in Art and Design 4, no. 1 (August 28, 2023): 86–88. http://dx.doi.org/10.54097/hiaad.v4i1.11966.
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This paper takes the example of the development of blue and white porcelain with "willow pattern" in Britain, and examines the reasons and significance of the spread of Chinese ceramics, so as to illustrate the prevalence of "Chinese style" of ceramics, Chinese ceramics have also had a profound impact on British and European aesthetics, and the Chinese style has slowly spread.
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Novikova, O. "Qing monochrome porcelain from the Collection of the Bohdan and Varvara Khanenko National Museum of Arts." Research and methodological works of the National Academy of Visual Arts and Architecture, no. 27 (February 27, 2019): 168–77. http://dx.doi.org/10.33838/naoma.27.2018.168-177.
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The article analyzes Qing monochrome products of Chinese porcelain and studies the complex technology of their manufacture. This publication is also devoted to the main identification problems of Chinese monochrome thin-walled ceramics and its terminology. When dating and attributing Chinese monochrome porcelain causes the most difficult problem. Thin-walled monochrome glaze ceramic products manufactured at different times are often distinguished only by barely noticeable changes in parts and other proportions of products. Furthermore, the plagiarism was uncharacteristic of Chinese, and the imitation and copying of works of past epochs, in their opinion, only confirmed the value of original works and even gave a sacred meaning to them. The basis for this approach was the idea of connection between epochs, the continuity of traditions and the respect to ancestors supported by the ruling elite, because it was a part of the official religion of the statе – Confucianism. The secret of regenerative firing has been discovered that restores the natural color of metals in their oxides in the glaze composition thanks to the carbon by giving the rich hue color intensity to the monochrome Chinese ceramics. The play of different colors achieved exclusively by ceramic techniques is very attractive, and products colored in such way are sometimes more expensive than the painted glazed ceramics. In Qing times ceramists manufactured a lot of porcelain products that mimicked samples of previous epochs. From time to time potters created almost exact copies of products, so it is sometimes difficult for present-day researchers to tell the difference between late imitations and original ancient works. That’s way the purpose of this article is to analyze works of Chinese Qing monochrome porcelain from the collection of the Bohdan and Varvara Khanenko National Museum of Arts, to demonstrate the manufacturing technology and terminological features and to specify attributions. This study has been illustrated by pieces from the Bohdan and Varvara Khanenko National Museum of Arts.
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Wen, Wen. "Preconceptions of the Samarra Horizon, Green Splashed Ware and Blue Painted Ware Revisited through Chinese Ceramic Imports (Eighth to Tenth Centuries)." Journal of Material Cultures in the Muslim World 2, no. 1-2 (December 9, 2021): 150–83. http://dx.doi.org/10.1163/26666286-12340020.
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Abstract This paper brings in new and not-well-known archaeological evidence to the debate over the Samarra Horizon, and reviews some preconceptions of the green splashed ware and blue painted ware through Chinese ceramic imports found in several sites in the Middle East from the eighth to tenth centuries CE. There has been mutual influence between Islamic and Chinese ceramics in the early Abbasid period, and there may be more than one explanation for their visual similarities.
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Yi Zhang, Liangjie Zhang, Kexiang Ma, Hui Chen,. "Research on the Development Status and Influence of Zhengzhou Primitive Celadon in the Context of Artificial Intelligence." Journal of Electrical Systems 20, no. 2 (April 4, 2024): 878–88. http://dx.doi.org/10.52783/jes.1248.
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In today's environment where the development of artificial intelligence is clearly accelerating, the research on traditional Chinese ceramics has also been influenced by it. Through artificial intelligence technology, we delve into exploring the developmental status and influence of Zhengzhou primitive celadon in Chinese ceramic culture, and conduct analysis and research through big data screening. At the same time, this provides a theoretical basis for the protection and inheritance of Zhengzhou primitive celadon. Zhengzhou primitive celadon. Through artificial intelligence means, we obtain relevant data from literature and archaeological discoveries related to China's primitive ceramics, and then conduct systematic research to deeply explore the cultural connotations of Zhengzhou primitive celadon. As a part of ancient Chinese ceramic culture, although the history of Zhengzhou primitive celadon can be traced back to the Shang and Zhou dynasties, due to geographical and historical reasons, its status and influence are relatively low. Under the conditions of artificial intelligence, the in-depth analysis of its unique value through big data analysis helps to better understand and inherit this unique variety of celadon, Zhengzhou primitive celadon. It provides theoretical support and guidance for the protection and inheritance of Zhengzhou primitive celadon. By utilizing artificial intelligence means to participate in the revival and development process of Zhengzhou celadon, it has positive significance for promoting the greater development of Zhengzhou primitive celadon in the field of ceramic art.
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Rahmayani, Any. "INDUSTRI KERAMIK TRADISIONAL CINA DI SAKKOK, SINGKAWANG 1933-2000." Patanjala : Jurnal Penelitian Sejarah dan Budaya 5, no. 2 (June 2, 2013): 217. http://dx.doi.org/10.30959/patanjala.v5i2.133.
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AbstrakPenelitian ini menyajikan tentang dinamika industri keramik tradisional Cina di Sakkok, sebuah wilayah di Kota Singkawang, Provinsi Kalimantan Barat sepanjang abad ke-20. Latar belakang penelitian ini adalah keberadaan industri keramik tradisional Cina di Sakkok yang sedang digarap sebagai aset ekonomi dan pariwisata bagi Singkawang. Permasalahan pokok yang dibahas adalah dinamika industri keramik tradisional Cina di Sakkok, Singkawang dalam perspektif sejarah. Tujuan dari kajian ini yaitu menggambarkan tentang tradisi pembuatan keramik tradisional Cina di Sakkok, menguraikan perintisan industri keramik tradisional Cina pada awal abad ke-20 dan menjelaskan faktor-faktor yang mempengaruhi industri ini. Metode yang digunakan metode heuristik, kritik, interpretasi dan historiografi. Hasil penelitian menunjukkan bahwa ciri tradisional keramik Cina yang terlihat pada bahan bakunya, peralatan proses proses pembentukan, penglasiran,dan pembakaran, motif dan desain, serta alat pembakaran yang disebut tungku naga. Perubahan yang terkait dengan ketersediaan bahan baku, bahan penunjang dan teknik pembakaran serta kondisi sosial politik membawa dampak bagi keberlangsungan industri keramik tradisional Cina dari Singkawang ini.AbstractThis study presents the dynamics of traditional Chinese ceramics industry in Sakkok, Singkawang, in the Province of West Kalimantan during the 20th century. The background of this research is the existence of traditional Chinese ceramics industry in Sakkok which is being worked on as an economic and tourism asset for Singkawang. The main problem for this study is the historical perspective of the dynamics of traditional Chinese ceramics industry in Sakkok. The purpose of this study is describing the tradition of producing traditionalChinese ceramics in Sakkok, outlining pioneering in the industry in the early 20th century, and explaining the factors affecting it. The author used heuristic, criticism, interpretation and historiography. The results showed that the characteristics of traditional Chinese ceramics are depicted in the raw materials, equipment, processes of formation, glazing, and burning, motifs and designs, as well as burning tool called dragon furnace. Changes related to the availability of raw and auxiliary materials, burning techniques as well as the social and political conditions have impact on the sustainability of traditional Chinese ceramic industry in Singkawang.
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Ouyang, Chao Ying, Ya Jie Xiong, and Lin Li. "Application of Traditional Chinese Decorative Patterns in Ceramics Design." Advanced Materials Research 936 (June 2014): 2329–34. http://dx.doi.org/10.4028/www.scientific.net/amr.936.2329.
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As an important part of traditional Chinese culture, traditional Chinese decorative patterns, to a great extent, symbolise local customs as well as social, political and economic circumstances of China. Ceramics is of both use value and aesthetic value. Decorative patterns facilitate the latter of the two as a main means. Nowadays, designers are facing a great challenge of how to inherit the aesthetics and the spirit of traditional Chinese decorative patterns and how to apply modern design concepts to contemporary ceramics design. This paper investigates the origins, implications, categorizations and application examples of traditional Chinese decorative patterns in both ancient and modern ceramics designs. Based on the investigation, the paper strives to demonstrate the essence of traditional Chinese decorative patterns, enhance the charm of modern ceramics design, as well as to explore new cultural added value of traditional Chinese decorative patterns.
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Taim, Eka Asih Putrina. "KERAMIK SITUS KUTAI LAMA: TINJAUAN BENTUK DAN KRONOLOGI [KUTAI LAMA CERAMICS: A REVIEW ON FORM AND CHRONOLOGY]." Naditira Widya 15, no. 2 (December 29, 2021): 143–54. http://dx.doi.org/10.24832/nw.v15i2.458.
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Kutai Lama merupakan salah satu kota lama yang terdapat di daerah aliran Sungai Mahakam. Salah satu bukti hubungan antara Kutai Lama dengan dunia luar adalah banyaknya sebaran pecahan keramik asing, terutama dari Cina, yang padat di sepanjang tepian sungai. Tujuan penelitian ini adalah memahami keberadaan keramik kuno di daerah aliran Sungai Mahakam. Adapun sasaran penelitian ini adalah bentuk dan variasi keramik, sehingga diketahuifungsi serta peranan keramik Cina pada masa itu. Penelitian ini dilakukan karena belum ada penelitian terdahulu yang mengulas tentang besarnya pengaruh eksistensi keramik Cina dalam perkembangan kebudayaan di kawasan Kutai Lama. Situs Kutai Lama merupakan kawasan penting bagi rekonstruksi sejarah awal perkembangan Islam di Kutai Kartanegara. Metode penelitian yang digunakan adalah kualitatif-deskriptif, dan perbandingan-perbandingan berdasarkan literatur keramik Cina. Hasil analisis morfologi dan kronologi menunjukkan bahwa keramik Dinasti Song-Yuan mendominasi populasi temuan keramik di Kutai Lama. Hal ini menjadi indikasi komoditi dagang tersebut dihargai sebagai suatu hadiah, sehingga menjadi barang berharga yang dimiliki oleh kalangan tertentu atau tokoh masyarakat.
Kutai Lama is one of the old towns located in the Mahakam River catchment. One of the items of evidence of the relationship between Kutai Lama and the outside world is a large number of fragments of foreign ceramic, especially from China, which was densely found along the banks of the river. The objective of this study was to understand the existence of old ceramics in the Mahakam River catchment. The target of this research was the form and variation of ceramics, thus providing information on the purpose and role of Chinese ceramics then. This research was conducted because there were no previous studies that reviewed the magnitude of the influence of the existence of Chinese ceramics in the cultural development in the Kutai Lama region. The Kutai Lama site is an important area for the reconstruction of the early history of Islamic development in Kutai Kartanegara. The research method used was qualitative-descriptive, and comparative based on Chinese ceramics literature. The results of the morphological and chronological analyses showed that the Song-Yuan Dynasty ceramics dominate the population of ceramic findings in Kutai Lama. This is an indication that such trade commodity was also valued as gifts, therefore, it became valuable items owned by certain groups or community leaders.
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Gihwala, D., L. Jacobson, M. Peisach, C. A. Pineda, and H. N. Vos. "Analysis of Chinese Porcelains and Ceramics." South African Archaeological Bulletin 40, no. 142 (December 1985): 96. http://dx.doi.org/10.2307/3888454.
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Fang, Feng. "Crack Repair Model of Ancient Ceramics Based on Digital Image." Scientific Programming 2022 (March 11, 2022): 1–10. http://dx.doi.org/10.1155/2022/4932183.
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Ancient ceramics is an important carrier of concretization and artistic transformation of Traditional Chinese culture. It is also an extremely indispensable link for the world to understand traditional Chinese culture. It is of great significance to ensure the quality of ceramic products and improve the reliability of products by nondestructive testing of ceramic microdefect cracks. It is necessary to extract the microdefect crack area first and describe the characteristics of the ceramic crack image with the gradient weighting feature of the model to complete the nondestructive detection of the crack image. The traditional method sets the pixel point and brightness threshold according to the pixel value of the microdefect area but ignores the description of the weighted feature of the image and completes the nondestructive detection of the microdefect crack image of ceramic products. In this study, the improved algorithm of edge detection based on cluster analysis was applied to the ancient ceramic crack repair. First, cluster analysis is used to optimize the Sobel operator in edge detection. Then, the gray value distribution of edge detection map is changed by the Clustering algorithm. Finally，the experimental results show that the contour crack trace and edge direction of the improved edge detection map are obviously enhanced by 20%, which is beneficial to improve the accuracy of ancient ceramic crack repair.
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Pranoto, Iwan, M. Agus Burhan, and Muhamad Romadoni. "Tracing Bong Lie Phin’s ceramic artistry in Singkawang: unveiling cultural heritage and technological advancements (1989-2020)." Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni 18, no. 1 (June 22, 2023): 69–81. http://dx.doi.org/10.33153/dewaruci.v18i1.5188.
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Ceramics by artist Bong Lie Phin has a historical record in the world of art by bringing social change to form a new culture through ceramic works. Another thing about ceramic development technology. This research is important in order to provide renewal through ceramic works. As for the research question, namely, how are inductive empiricism, reconstruction, and humanism related to ideas, society, and technology? This research process used qualitative methods with historical, social, and technological approaches and data collection techniques through interviews, literature studies, notes, and documentation documents. In the process of collecting data, researchers will gather information from artists and other supporting data. The data needed is in accordance with the research questions and then tested by involving experts and artists. There are several findings that the artist Bong Lie Phin created works from 1989 to 2020 with the concept of Chinese mythology and interpreted Chinese cultural symbols. This is also supported by the exploration of materials and technologies that develop in making ceramics, but without reducing the value and meaning, it was found that there were financial support factors carried out by the management of these ceramic artists in influencing understanding. Work so that the presence of work continues. Occurs, the work is considered capable of providing transformation of spiritual values; another discussion is the community's contribution in providing understanding in the creation of ceramic art so that the process of reconstruction in the work occurs continuously.
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Zheng, Yong, and Bai Yang Jin. "Analysis on the Application of Ceramic Materials in Package - The Application of Ceramic Bottle in the Package of Jinjiu." Advanced Materials Research 298 (July 2011): 142–46. http://dx.doi.org/10.4028/www.scientific.net/amr.298.142.
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Jinjiu’s ceramic bottle has been in China’s wine market for a few years, and the choice of ceramics reflects traditional Chinese design idea of “combination of object and practicability, and manifestation of life with object”， which satisfies consumers’ requirements about national traits, style and taste of wine. This paper will analyze how Jiujin Group skillfully adopted China’s traditional ceramic technology to the design of package and explore a successful way of national package of wine through the example of Jiujin.
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Arzamastseva, Irina N., and Yang Liping. "The art of ceramics in the works of E.Ya. Danko: “Vase of Chinese Khan”, “Ceramic Cup” and “Chinese Secret”." RUDN Journal of Studies in Literature and Journalism 25, no. 1 (December 15, 2020): 91–100. http://dx.doi.org/10.22363/2312-9220-2020-25-1-91-100.
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This article is the first try to research the connection between the art of ceramics and word in the work of children's writer and artist E.Ya. Danko. The relevance of the study is due to the need to expand the idea of the image of China in Soviet children's literature of the 1920s. Compared to the history of Russian poetry, the poems “Ceramic Cup”, “Chinese Secret” and the novel “Vase of Chinese Khan” are considered diachronically, and synchronously - in the context of the indestructible myth of Ancient China and the Chinese proletarian revolution. Special attention is paid to the genesis of the ideal image of China in the work of E.Ya. Danko, which traces back to the ideas of F.M.A. Voltaire, M.V. Lomonosov and Russian poets of the XIX - early XX centuries. Works by E.Ya. Danko meets the idea of A.M. Gorky - to create literature on factories, crafts, and technology. In her works about China, upholding the classical understanding of Chinese culture and admiring the talent and hard work of the Chinese people, E.Ya. Danko found a way out of the chaos of the 1920s.
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Zeng, Guoguang. "Research on the Integration and Innovation of Ceramic Decorative Pattern Design and Traditional Culture." Highlights in Art and Design 1, no. 1 (September 25, 2022): 55–59. http://dx.doi.org/10.54097/hiaad.v1i1.1699.
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Ceramics, from the initial practicality to artistry, has a profound impact on social life and its value is unique. Tracing back to the origin of Chinese ceramic art, the application of decorative patterns is legendary. These decorative arts with national and cultural characteristics have distinctive characteristics of the times. Traditional culture is embedded in decorative patterns, which are dominated by the spirit of traditional culture. It is a profound historical accumulation of national traditional culture. Looking at the decorative patterns of ceramic art, these patterns are melting the collision of thoughts, reflecting the ceramic decorative patterns of the light of Chinese civilization for thousands of years, and are also the profound embodiment of the cultural and artistic values of Chinese civilization. This article mainly takes Ganzhou Qilizhen kiln ceramic design as an example to interpret the application of traditional culture in ceramic decorative art. A curve fitting technique based on adaptive genetic algorithm is proposed. The process of curve fitting using adaptive genetic algorithm and curve tools is described in detail, and the comparison results are given. The research shows that the adaptive genetic algorithm can effectively reduce the original iteration times by 30.14% compared with other algorithms. At the same time, this method is applied to the process of pattern design.
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Krahl, Regina. "“Reflections of Roman Glass in Chinese Ceramics”." Journal of Inner Asian Art and Archaeology 2 (January 2007): 89–94. http://dx.doi.org/10.1484/j.jiaaa.2.302550.
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Zhushchikhovskaya, Irina S., and Lyudmila N. Mylnikova. "The Oldest Ceramics of East Asia: Current Research Questions (Materials for the Educational Course “Ceramics as an Archaeological Source”)." Archaeology and Ethnography 19, no. 7 (2020): 10–33. http://dx.doi.org/10.25205/1818-7919-2020-19-7-10-33.
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Purpose. The article presents a historiographical review of the problems of research of ancient ceramics from archaeological sites of East Asia in the chronological interval from 20,000–18,000 to 9,000 years ago. Results. The subject of discussion is the periodization of monuments with early ceramics, the problems of socio-economic conditions of the emergence of pottery technology, its functional role in ancient societies, reconstruction of technological skills and technical levels of pottery, morphology and decor. There are a lot of controversial issues and “blind spots” in this direction. However, the opening of sites with ancient ceramics in East Asia showed that here, on the Pacific (eastern) outskirts of the Eurasian continent, pottery making technology first appeared about 10,000 years earlier than in the Middle East. The invention of ceramics in this region of the world at the turn of the Pleistocene and Holocene should be considered as a result of a combination of natural and social factors. The example of East Asia shows that the relationship between the appearance of ceramic vessels and the development of agriculture, as a technology for food production, is universally, not a mandatory factor. Conclusion. The article discusses certain regional differences in the formation of skills in making the most ancient ceramic vessels of East Asia. It is assumed that the development of ceramic technology in the Japanese archipelago and in the mainland areas of East Asia took place independently. For the Amur region, there are two local cultural traditions – Osipovskaya and Gromatukhinskaya. According to materials from Northern China, there is a version of the existence of a common line in the development of ancient ceramics in the Valley of the Nonny River. There are similarities between the early ceramics of Northeast China, and the Gromatukhinskaya and Osipovskaya cultures of Amur. For the ceramics of South Korea also note similarities with the materials of the Russian Far East, Japanese and Chinese dishes.
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Montella, Andrea. "Chinese Porcelain as a Symbol of Power on the East African Coast from the 14th Century Onward." Ming Qing Yanjiu 20, no. 1 (March 1, 2016): 74–93. http://dx.doi.org/10.1163/24684791-12340004.
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The aim of this paper is to illustrate the role of Chinese ceramics in Swahili society, with particular emphasis on their funerary uses. Although the importance of Chinese ceramics, especially porcelain, is attested throughout the Indian Ocean, scholars have only recently pointed out their role not only as chronological markers, but also as useful tools to better understand the politics and social customs of certain areas, such as the East African Coast. Imported vessels are involved in several ritual activities which have been performed in Swahili houses since ancient times. Ceramics act as protective tools in the innermost and main section of the house, exclusively reserved for women. According to local customs, Chinese ceramics are believed to be able to ward off negative influences. Furthermore, ceramics became part of the constitution of authority and power, not just a reflection of them. In particular, their importance is evident from their use in religious monuments such as mosques and tombs, where they are used as architectural decorative elements in order to display the wealth of the deceased and as symbols of legitimacy bestowed from ancestors to their heirs. Chinese porcelain in funerary contexts thus became a necessary instrument whereby the Swahili elite asserted their prominence during the continuous negotiation of power between them and other social classes.
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Noriko, Nishino, Aoyama Toru, Kimura Jun, Nogami Takenori, and Le Thi Lien. "Nishimura Masanari’s Study of the Earliest Known Shipwreck Found in Vietnam." Asian Review of World Histories 5, no. 2 (October 4, 2017): 106–22. http://dx.doi.org/10.1163/22879811-12340007.
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Abstract The Chau Tan shipwreck, probably the earliest shipwreck in Vietnam, was found in the waters off the shore of Binh Son District in Quang Ngai Province in the early 2000s. Dr. Nishimura initiated a study of the shipwreck material, but it was cut short by his sudden demise. A group of Japanese scholars continued the project in co-operation with the Institute of Archaeology (Vietnam). Since remnants of the shipwreck were pillaged and their archaeological contexts were not recorded, this initial study is limited to a comparative assessment of the recovered items, including wooden timbers from the hull and Chinese ceramics. It is also a case study for addressing the ethical issues of raising shipwreck remains in Vietnam for commercial purposes without conducting scientific surveys. The study indicates that the ship timbers came from an eighth-ninth century Southeast Asian ship, and that the Chinese ceramics can be assigned to the Tang Dynasty. A number of inked or inscribed characters on ceramic shards indicate the involvement of Indian Ocean merchants.
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Huang, Xinyi, Jiali Li, Wenjie Dai, Ying Chen, and YongYa Wang. "Andesite tailings and municipal solid waste incineration fly ash based glass ceramics." Journal of Physics: Conference Series 2393, no. 1 (December 1, 2022): 012015. http://dx.doi.org/10.1088/1742-6596/2393/1/012015.
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Abstract To realize the utilization of andesite tailings and solve the environmental problems caused by municipal solid waste incineration (MSWI) fly ash, both of them were selectively used as raw materials to prepare glass ceramics by sintering process. The effects of components on the properties of glass ceramics were analyzed. The results showed that glass-ceramic sample 21 prepared from andesite tailings and MSWI fly ash had the best performance, the bending strength was 94.8Mpa. At the same time, its acid and alkali resistance were the best, while the thermal conductivity was the lowest. The leaching of heavy metal elements in all the samples met the Chinese national standard. These results will provide some reference for the resource utilization of andesite tailings and MSWI fly ash.
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Sim, Teddy Yong Huei, and Sandy Jun Chih Liu. "Research Report Studying Nonya Ceramics in the Singapore-Melaka Region and Their Larger Historical and Artistic Background." Journal of Chinese Overseas 8, no. 2 (2012): 265–90. http://dx.doi.org/10.1163/17932548-12341239.
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Abstract The ethnic Chinese in Southeast Asia is a mature area of study, having benefited from the works of many distinguished scholars. This paper looks into the area of ceramic artifacts in the Peranakan Museum of Singapore and the Nonya Baba Museum of Melaka. The characteristics of the collection are explored in terms of the earlier material culture inherited by the Peranakans. It may be pertinent to make the point that from a “whole culture” approach, these ceramics used at the commonest, middle and higher levels embraced a cultural transference that might not be claimed by the Peranakans alone. Another important part of this investigation is the linkage made to the larger commercial networks in which these ceramics were traded.
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Zhushchikhovskaya, Irina S., and Igor Yu Buravlev. "A “Red-and-Green Porcelain” Figurine from a Jin Period Archaeological Site in the Primor’ye Region, Southern Russian Far East." Ceramics 5, no. 4 (September 30, 2022): 673–89. http://dx.doi.org/10.3390/ceramics5040049.
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This paper considers the results of an examination of a polychrome glazed anthropomorphic ceramic figurine from the Prmor’ye region (southern Russian Far East) discovered at one of the Jin period (1115–1234 CE) archaeological sites. The study attests to the hypothesis about the attribution of this unique art object to the “red-and-green porcelain” produced in Northern China since the mid-Jin period. At present “the red-and-green porcelain” is the object of certain research interest as an important stage of Chinese ceramics history preceding the invention of famous porcelains with overglazed enamel decoration. The main technological features and material properties of the studied object were determined using analytical methods of optical and electron (SEM) microscopy with the use of X-ray elemental composition analysis (EDS, pXRF). The main result of the study presented in the paper includes evidence that the polychrome ceramic figurine found at the Anan’evka walled town in Primor’ey in the south of the Russian Far East belongs to the category of “red-and-green porcelain”, or “red-green ware”. As supposed, the figurine portrays Zen monk Budai—a person popular in Chinese arts and spiritual culture of the Song and Jin periods. Therefore, the polychrome ceramics figurine from the Primor’ye region may be considered today as the most northeastern case of “red-and-green porcelain” discovered in an archaeological context.
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Wang, Xingqian. "Ornamental Elements of Chinese Ancient Painted Ceramics in the Decoration of Modern Ceramic Products." Университетский научный журнал, no. 63 (2021): 164–75. http://dx.doi.org/10.25807/22225064_2021_63_164.
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Sari, Florensita Melly Muspita, and Naimatul Aufa. "KAWASAN TUNGKU NAGA DI SAKKOK, SINGKAWANG DRAGON KILN HERITAGE SITE." LANTING JOURNAL OF ARCHITECTURE 10, no. 1 (February 28, 2021): 14–25. http://dx.doi.org/10.20527/lanting.v10i1.533.
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Sakkok area in Singkawang is notorious for its traditional Chinese ceramics industry. These ceramics are produced through a wood-firing process in a closed kiln called Dragon Kiln. Dragon Kiln is the product between culture and technology, which was brought by the Southern Chinese immigrants. The only remaining Dragon Kilns, that are still being used and fired now, are in Singapore and Sakkok, Singkawang. Singkawang city is enlisted as Indonesia’s heritage city, therefore, the city is suggested to empower its heritages. This is supported by the people of Singkawang city, in which some of them are the crafters in the Dragon Kiln area. The highlighted architectural problem in this study is “How the architectural design of Dragon Kiln will maximize its Cultural Heritage potential in order to preserve the Dragon Kiln and Traditional Chinese Ceramics Industry?” The applied method for this study is Revitalization Thinking. Revitalization Thinking is a problem solving method based on revitalizing, done in stages, to maximize the design planning. The concept that is implied is an educative, recreational, and sustainable Cultural Heritage Tourism in order to maximize the Cultural Heritage potential of Dragon Kiln through the development of tourism in preserving the Dragon Kiln and Traditional Chinese Ceramics Industry in Singkawang, Indonesia and South-east Asia.
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Sari, Florensita Melly Muspita, and Naimatul Aufa. "KAWASAN TUNGKU NAGA DI SAKKOK, SINGKAWANG DRAGON KILN HERITAGE SITE." JURNAL TUGAS AKHIR MAHASISWA LANTING 10, no. 1 (February 28, 2021): 14–25. http://dx.doi.org/10.20527/jtamlanting.v10i1.533.
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Sakkok area in Singkawang is notorious for its traditional Chinese ceramics industry. These ceramics are produced through a wood-firing process in a closed kiln called Dragon Kiln. Dragon Kiln is the product between culture and technology, which was brought by the Southern Chinese immigrants. The only remaining Dragon Kilns, that are still being used and fired now, are in Singapore and Sakkok, Singkawang. Singkawang city is enlisted as Indonesia’s heritage city, therefore, the city is suggested to empower its heritages. This is supported by the people of Singkawang city, in which some of them are the crafters in the Dragon Kiln area. The highlighted architectural problem in this study is “How the architectural design of Dragon Kiln will maximize its Cultural Heritage potential in order to preserve the Dragon Kiln and Traditional Chinese Ceramics Industry?” The applied method for this study is Revitalization Thinking. Revitalization Thinking is a problem solving method based on revitalizing, done in stages, to maximize the design planning. The concept that is implied is an educative, recreational, and sustainable Cultural Heritage Tourism in order to maximize the Cultural Heritage potential of Dragon Kiln through the development of tourism in preserving the Dragon Kiln and Traditional Chinese Ceramics Industry in Singkawang, Indonesia and South-east Asia.
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Wei, Zhang, and Xuemin Cheng. "Inheritance and Innovation of Traditional Ceramics in Yuan River Basin." Mobile Information Systems 2022 (July 18, 2022): 1–7. http://dx.doi.org/10.1155/2022/1602312.
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Yuanshui River is the third largest tributary of the Yangtze River and one of the four major water systems of Dongting Lake. It originated in Jiguanling, Wu Yun, Duyun City, Guizhou Province, and Pingyue Mountain, Majiang County. It flows eastward to Tuokou Town, Hongjiang city, Hunan Province, where it joins Qushui and is called Yuanshui. Ceramic is the representative of Chinese traditional culture. In the long-term development process, there are many kinds of ceramics with brilliant history and exquisite skills. At present, when the traditional national culture is seriously lost, protecting and developing the traditional national ceramic skills in Yuanshui River Basin will help us to fully understand the traditional national culture in Yuanshui River Basin, carry forward the excellent traditional national culture in Yuanshui River Basin, and enhance national self-confidence. Based on this, this paper analyzes the inheritance and innovation of traditional ceramic crafts in Yuanshui River Basin and constructs the mechanical characteristic model of ceramic crafts with data simulation method. Combine the innovative consciousness of keeping pace with the times with the spirit and quality of the times to realize the all-round development of ceramic art.
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Gerritsen, Anne. "Fragments of a Global Past: Ceramics Manufacture in Song-Yuan-Ming Jingdezhen." Journal of the Economic and Social History of the Orient 52, no. 1 (2009): 117–52. http://dx.doi.org/10.1163/156852009x405366.
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AbstractThis essay explores textual genres related to the production of ceramics in Jingdezhen, including maps, literati collections, the literature of connoisseurship, local gazetteers, and merchant manuals. An analysis of these genres brings the Chinese textual record of ceramics into sharper focus and reveals what has remained unwritten. Whereas European writings on Chinese ceramics from the seventeenth and eighteenth centuries dwell on modes of manufacture in a global context, Chinese writers generally ignore matters of technology and commerce beyond the confines of the Chinese realm. These omissions emerge in part from the peculiarities of the genres within which these writings have been transmitted. Cet essai examine les différents genres de textes qui ont trait à la production de la céramique dans Jingdezhen. Parmi ces textes, il se trouve des cartes géographiques, des collections d'écrits de 'literati', des monographies locales et des manuels de commerce. L'analyse de ces genres permet d'approfondir notre compréhension de la tradition écrite au sujet de la céramique, tout en révélant en même temps, ce qui reste implicite en ces textes. Les auteurs chinois ne s'attardent pas aux questions de technologie, ni au commerce au-delà des confins de l'Empire chinois. Le présent essai suggère que ces omissions s'expliquent par les conventions des genres auxquels ces écrits appartiennent.
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Wu, Yanfang, Junjie Lan, Mingxuan Wu, Mingjun Wu, Li Tian, Hui Yang, Qijiang Li, and Yue Li. "Processing, Microstructure, and Performance of Robocast Clay-Based Ceramics Incorporating Hollow Alumina Microspheres." Materials 17, no. 7 (March 31, 2024): 1603. http://dx.doi.org/10.3390/ma17071603.
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The restoration of ancient ceramics has attracted widespread attention as it can reveal the overall appearance of ancient ceramics as well as the original information and artistic charm of cultural relics. However, traditional manual restoration is constrained due to its time-consuming nature and susceptibility to damaging ancient ceramics. Herein, a three-dimensional (3D) printing technique was employed to accurately restore Chinese Yuan Dynasty Longquan celadon using hollow Al2O3 microsphere-modified 3D printing paste. The results show that the hollow Al2O3 microsphere content plays a vital role in the printability, physical properties, and firing performance of the modified 3D printing paste. The printed green bodies show no noticeable spacing or voids under moderate rheological conditions. The as-prepared ceramic body modified with 6 wt.% hollow Al2O3 microspheres and fired at 1280 °C exhibits optimal bending strength of 56.66 MPa and a relatively low density of 2.16 g∙cm−3, as well as a relatively uniform longitudinal elastic modulus and hardness along the interlayer. This 3D printing technique based on hollow Al2O3 microsphere-modified paste presents a promising pathway for achieving non-contact and damage-free restoration of cultural relics.
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de Vienne, Marie-Sybille. "The Chinese in Brunei: From Ceramics to Oil Rent." Archipel 82, no. 1 (2011): 25–48. http://dx.doi.org/10.3406/arch.2011.4254.
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Manginis, George. "A collection of Chinese ceramics at the Benaki Museum." Μουσείο Μπενάκη 7 (January 1, 2007): 197. http://dx.doi.org/10.12681/benaki.54.
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Η συλλογή κινεζικής κεραµικής του Μουσείου Μπενάκη δωρήθηκε ανάµεσα στα έτη 1927 και 1936 από τον χιακής καταγωγής Βρετανό επιχειρηµατία Γεώργιο Ευµορφόπουλο (1863-1939) (εικ. 1). Αποτελεί ένα από τα πρωιµότερα σύνολα απωανατολικής κεραµικής που αποθησαυρίστηκαν µε σκοπό την έκθεσή τους σε µουσείο και αντιπροσωπεύει ό,τι για τους µελετητές της µεσοπολεµικής Δύσης χαρακτήριζε την τέχνη της Κίνας. Περιλαµβάνει αποκλειστικά έργα κεραµικής, της δηµοφιλέστερης έκφρασης της κινεζικής καλλιτεχνικής παραγωγής. Η γενιά του Ευµορφόπουλου εστίασε στις πρώιµες περιόδους της κινεζικής τέχνης, αναγνωρίζοντας στα τεχνουργήµατά τους τις αισθητικές αρχές που ενέπνευσαν τις αναζητήσεις πρωτοπόρων καλλιτεχνών του πρώιµου 20ού αιώνα: αδρότητα γραµµών, απλότητα διακόσµησης, αισθαντικές εφυαλώσεις, ηθεληµένα “ηµιτελές” αποτέλεσµα (εικ. 7-10, 13). Μολονότι τα χαρακτηριστικά αυτά απαντούν στη συλλογή του Μουσείου Μπενάκη, η πλειονότητα των αντικειµένων φαίνεται πως συνάδει µε στερεότυπα του 19ου αιώνα, εµµένοντας σε ιστορηµένες πορσελάνες µε “εξωτική” θεµατολογία (εικ. 3-6). Η επιλογή αυτή πιθανότατα υπαγορεύθηκε από τον παιδευτικό ρόλο της συλλογής. Παρά ταύτα, ο Ευµορφόπουλος ήταν πρωτοπόρος στις συλλεκτικές του προτιµήσεις και είχε ευρύτερες αντιλήψεις από συγχρόνους του ακαδηµαϊκούς συλλέκτες, όπως ο Sir Percival David. Η εγκυκλοπαιδική και αισθητική προσέγγισή του συνδύαζε έργα σύγχρονης τέχνης, ευρωπαϊκές αντίκες και απωανατολικά και ισλαµικά τεχνουργήµατα (εικ. 11, 12). Ο φιλελληνισµός του προσέγγιζε εκείνον των Ελλήνων συλλεκτών της όψιµης βικτοριανής Βρετανίας, όπως η οικογένεια Ιωνίδη· εκείνοι όµως επέλεξαν να προσφέρουν εκπαιδευτικά ιδρύµατα και νοσοκοµεία, παρά έργα τέχνης στο νέο κράτος. Ο Ευµορφόπουλος, ενστερνιζόµενος τις αντιλήψεις µιας νέας εποχής, προσέφερε όλη την εντυπωσιακή συλλογή του στο ελληνικό κράτος κατά τα έτη 1922-1923, µια δωρεά που αγνοήθηκε από την κυβέρνηση Νικόλαου Πλαστήρα. Ύστερα από πέντε χρόνια, µια ευτυχέστερη συγκυρία έφερε κοντά τον Βρετανό συλλέκτη µε τον Αντώνη Μπενάκη ως µεσάζοντα και τον Ελευθέριο Βενιζέλο ως πολιτικό αποδέκτη µιας νέας, µικρότερης δωρεάς. Το ενθουσιώδες καλωσόρισµά της οφείλεται στην επιρροή της “γενιάς του ’30” που ευαγγελιζόταν την οικουµενικότητα, την πνευµατικότητα και την προοδευτικότητα της νέας Ελλάδας µετά το τραύµα της µικρασιατικής καταστροφής. Συµπερασµατικά, η συλλογή Ευµορφόπουλου αποτύπωσε µε ενάργεια όχι µόνο την ιστορία της κινεζικής κεραµικής, αλλά και τις ιστορικές πραγµατικότητες της Βρετανίας και της Ελλάδας την εποχή κατά την οποία συγκεντρώθηκε και δωρήθηκε.
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Moser, Jeffrey. "Liquidity, Technicity, and the Predictive Turn in Chinese Ceramics." Grey Room 69 (January 2018): 24–49. http://dx.doi.org/10.1162/grey_a_00230.
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