Готові списки джерел за темами / Porcelaine – Chine – Histoire

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Добірка наукової літератури з теми "Porcelaine – Chine – Histoire"

Автор: Grafiati

Опубліковано: 29 березня 2025

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Статті в журналах з теми "Porcelaine – Chine – Histoire"

Voss, Barbara L. "THE ARCHAEOLOGY OF SERIOUS GAMES: PLAY AND PRAGMATISM IN VICTORIAN-ERA DINING." American Antiquity 84, no. 1 (December 14, 2018): 26–47. http://dx.doi.org/10.1017/aaq.2018.72.

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This study expands on Ortner's practice-based theory of “serious games” by interpreting artifacts through a continuum of intention: pragmatism and play. Decisions and actions are defined as pragmatic according to their desired outcome, while play, in contrast, is an attitude or disposition toward the action itself. Both pragmatism and play are examined in this study of dining-related material culture (ceramic tablewares) from a nineteenth-century Chinatown. The research reveals that Chinatown residents varied considerably in their approach to dining, some using the full complement of British- and American-produced earthenwares associated with Victorian-era genteel dining, whereas others primarily used porcelain vessels congruent with dining conventions in southern China. Other households blended the two types of ceramics, typically using Chinese porcelain vessels for individual table settings and British- and American-produced earthenwares for serving vessels. Chinese porcelains were typically purchased in matched sets; in contrast, British and American earthenwares were acquired piece by piece, contributing aesthetic variety to Chinatown table settings. Together, these findings indicate that most Chinatown households were establishing their own “house rules” that redefined dining through new practices. The continuum of intention represented by pragmatism and play affords an integrated methodology for bridging functional/economic and cultural/symbolic interpretive frameworks in archaeology.

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Clark, Leah R. "The peregrinations of porcelain." Journal of the History of Collections 32, no. 2 (February 19, 2019): 275–88. http://dx.doi.org/10.1093/jhc/fhy063.

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Abstract The Medici of Florence have long been acknowledged as possessing the largest collection of Chinese porcelain in the fifteenth century, but this article reveals that in fact Eleonora d’Aragona, Duchess of Ferrara had the largest such collection in Italy at this time. In fifteenth-century Europe, porcelain came not directly from China but rather through trade and diplomacy with foreign courts, so that its peregrinations gave rise to entangled histories and reception. Taking porcelain as a case-study, it is argued here that examining collecting through the lens of trade and diplomacy provides new interpretations of – and demands new approaches to – the history of collecting.

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Ke, Jin, and Chen Yanli. "A study on the transformation of imagery and the history of exports of Chinese Guangcai porcelain during the Qing Dynasty." OOO "Zhurnal "Voprosy Istorii" 2023, no. 11-1 (November 1, 2023): 204–11. http://dx.doi.org/10.31166/voprosyistorii202310statyi63.

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Guangcai porcelain with its distinct export patterns is an important component of porcelain trade between China and the West. Studying the history of transformation within images used for decorating Qing Guangcai, the authors consider the historical model of visual imagery that fuses Chinese and Western culture, research the history of transformation of porcelain exports and the changes in Guangcai decoration, thus connecting porcelain aesthetics, its cultural and artistic value, and the history of foreign trade.

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Ríos Durán, María Astrid. "Meha Priyadarshini. Chinese Porcelain in Colonial Mexico. The Material Worlds of an Early Modern Trade." Anuario Colombiano de Historia Social y de la Cultura 48, no. 2 (June 11, 2021): 465–69. http://dx.doi.org/10.15446/achsc.v48n2.95670.

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Si nos guiáramos por el título de este libro y por el tratamiento dado a la porcelana china en los estudios históricos de la cultura material, la obra de Priyadarshini podría ser ubicada rápidamente como un texto más de la historia convencional de este bien. Es decir, de aquella que trata sobre el encanto que suscitó en el mundo entero antes del descubrimiento de su secreto productivo en Europa (en 1708), pero esta vez ubicados en el contexto mexicano. No obstante, el objetivo de esta investigación no es la porcelana china en sí misma en cuanto a la fascinación que causó en el “mundo premoderno”, sino más bien sus viajes, transformaciones e hibridaciones con la cerámica local mexicana como la de Talavera. Todo ello en el marco de una historia de carácter global que ya considera lo translocal, así como de una historia multisituada que da cuenta también de las interconexiones entre los territorios de producción, distribución y venta, y de ese modo de los distintos actores partícipes en estas etapas, como los artesanos, mercaderes y consumidores.

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Montero Curiel, Pilar. "Metonimias y equivalencias acústicas: porcelana y borcelana en la historia del léxico español." Archivum 73 (December 13, 2023): 293–325. http://dx.doi.org/10.17811/arc.73.1.2023.293-325.

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El vocablo porcelana muestra en el español actual una serie de acepciones que parten de la definición proporcionada por Sebastián de Covarrubias en su Tesoro de la lengua castellana o española (1611), en referencia a un tipo de barro creado en China que llegó a Europa en siglo xvi. Este sustantivo, a lo largo del tiempo, ha ido asimilando nuevos matices, reflejados en la última edición del Diccionario de la Lengua Española de la Real Academia (2014). Uno de ellos es el que asocia porcelana con ‘vasija o figura de porcelana’, en virtud de un procedimiento metonímico que ha permitido desarrollar la variante borcelana para nombrar objetos como la ‘jofaina’, la ‘palangana’ o el ‘orinal’, con un polimorfismo llamativo (borzolana, bolsolana, borsolana) muy bien representado hasta hoy en el español de Canarias y en el de México. El estudio de la confluencia porcelana - borcelana, y el análisis de la especialización semántica de sus variantes, nos permitirá, con la ayuda de los diccionarios de la lengua española y de las bases de datos léxicas disponibles, reconstruir la historia de un préstamo del italiano que tomó la lengua de Castilla para designar un material nuevo y los productos con él elaborados, y que se asentó en sus textos en la transición de la Edad Media al Renacimiento para mantener hasta hoy todas sus posibilidades semánticas.

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Shuanghuai, Wang, and Jun Fang. "Chaiyao: A “Lost” Porcelain Ware from Tenth-Century China." Chinese Historical Review 29, no. 2 (July 3, 2022): 115–29. http://dx.doi.org/10.1080/1547402x.2022.2126061.

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Po, Ronald C. "Consuming China in Early Modern England and Beyond: A Survey and Reexamination." Asian Review of World Histories 11, no. 2 (July 27, 2023): 180–209. http://dx.doi.org/10.1163/22879811-bja10018.

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Abstract If we traveled back in time to the first half of the eighteenth century, we might notice that the cargo aboard an East Indiaman was rather diversified. But of these different products from different countries, a sizable number of them were manufactured in and originated from China. Why was China, alone among many other countries, able to secure its place as a world factory at the time? In this paper, I will suggest that we could not possibly understand how tea and porcelain became synonyms for China without tracing their histories back to the early modern world. We would not be able to deepen our understanding of Anglo-Chinese relations without taking into consideration the flow and circulations of goods between the two powers. My purpose here, therefore, is to outline these very connections throughout the early modern era, roughly from the late seventeenth century to the mid-nineteenth century, based on the fascinating studies conducted by pioneering historians in the field over the past few decades. If we follow the life histories of some of the Chinese commodities, can we determine the ways in which those imported items interacted with the European market in general and the British in particular? Other than treating these commodities as marketable goods, are there any other intellectual perspectives available to help us better comprehend their associations with the early modern world?

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YANYI, GUO. "RAW MATERIALS FOR MAKING PORCELAIN AND THE CHARACTERISTICS OF PORCELAIN WARES IN NORTH AND SOUTH CHINA IN ANCIENT TIMES." Archaeometry 29, no. 1 (February 1987): 3–19. http://dx.doi.org/10.1111/j.1475-4754.1987.tb00393.x.

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Wang, W. X., Y. Chen, Z. Z. Zhang, and C. S. Wang. "Transmittance Analysis for the Translucent White Porcelain of the Xing Kiln, China." Archaeometry 61, no. 4 (January 11, 2019): 828–36. http://dx.doi.org/10.1111/arcm.12460.

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Gillette, Maris. "Copying, Counterfeiting, and Capitalism in Contemporary China: Jingdezhen’s Porcelain Industry." Modern China 36, no. 4 (May 5, 2010): 367–403. http://dx.doi.org/10.1177/0097700410369880.

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Дисертації з теми "Porcelaine – Chine – Histoire"

Balard, Nancy. "La destinée de Jingdezhen, capitale de la porcelaine." Phd thesis, Université Paul Valéry - Montpellier III, 2012. http://tel.archives-ouvertes.fr/tel-00805675.

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Jingdezhen, bourg de la province reculée du Jiangxi, a révolutionné l'histoire de la céramique en proposant au monde dès la dynastie des Song une porcelaine par nulle autre égalée. Développant une industrie porcelainière organisée à tous les points de vue, elle en est arrivée à devenir la capitale de la porcelaine. La place qui fut accordée à la porcelaine de Jingdezhen dans les régions importatrices -- Asie, Proche et Moyen-Orient, Afrique orientale, Europe et Amériques --témoigne de l'estime qu'elle gagna. Cet objet, entre art et artisanat, s'immisça dans divers aspects de la vie des populations concernées et influença ces dernières de manière plus ou moins évidente. Après un brillant passé, Jingdezhen dut faire face à une période de crise à partir de la fin de l'empire. Pour tous, sa gloire fait partie de l'Histoire. Pourtant, face à de nouveaux défis, la ville s'inscrit encore de nos jours dans sa destinée de capitale de la porcelaine.

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Zheng, Yongsong. "Blanc de Chine (1490-1949) : l'odyssée de la porcelaine de Dehua." Electronic Thesis or Diss., Sorbonne université, 2025. http://www.theses.fr/2025SORUL008.

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Traduite telle quelle en chinois moderne, Zhongguo bai 中國白, l'expression « blanc de Chine » sert aujourd'hui à désigner la porcelaine blanche provenant des fours de Dehua, dans la province côtière du Fujian, où elle est fabriquée depuis la dynastie des Ming (1368-1644). Malgré sa présence marquée dans les collections françaises, la recherche spécifique sur cette porcelaine est très limitée, laissant ouvertes les questions d'identification, de provenance et de datation. Cette thèse vise donc à proposer une nouvelle synthèse sur cette porcelaine, partant de sa réception en Europe, puis de sa diffusion pour remonter jusqu'à sa production. Bien qu'inhabituel ou apparemment inversé dans sa logique, cet itinéraire ouvre progressivement la voie à une série de questionnements, ce qui permet de nous guider progressivement jusqu'au berceau même de cette porcelaine. Toutefois, l'ambition de cette thèse n'est pas d'écrire une histoire complète du blanc de Chine, mais plutôt de croiser les perspectives mondiale et locale afin de replacer cette porcelaine dans son contexte propre. Une question fondamentale, bien que paraissant à première vue simple et déjà largement abordée, imprègne l'ensemble de cette étude : quelles sont les spécificités du blanc de Chine ? Autrement dit, qu'est-ce qui définit véritablement un blanc de Chine ? Deux résultats tangibles de cette enquête seraient, entre autres, de contribuer à la mise en valeur des collections françaises et de faire reconnaître la valeur patrimoniale des fours-dragon, dont les techniques artisanales de construction et de cuisson sont aujourd'hui menacées de disparition
Translated as Zhongguo bai 中國白 in modern Chinese, the term “blanc de Chine” today refers to the white porcelain produced in Dehua kilns, situated in Fujian's coastal province, where production has continued since the Ming dynasty (1368-1644). Despite its prominent presence in French collections, research specifically dedicated to this porcelain remains limited, leaving key questions about its identification, origin, and dating unresolved. This dissertation, therefore, seeks to offer a new synthesis on blanc de Chine, beginning with its reception in Europe, then examining its dissemination, and finally tracing it back to its origins in production. Though unconventional or seemingly reversed in approach, this trajectory gradually brings us to essential questions, ultimately guiding us back to the origins of this porcelain. The aim of this dissertation is not, however, to write a complete history of blanc de Chine. Instead, it endeavors to integrate global and local perspectives to place this porcelain within its unique historical context. One fundamental question—simple in appearance yet widely debated—shapes this study: What are the specific characteristics of blanc de Chine? In other words, what precisely defines blanc de Chine? Among the tangible goals of this work are to enhance the appreciation of French collections and to promote the cultural value of dragon kilns, whose artisanal construction and firing techniques face extinction today

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Chopard, Lucie. "La collection d'Ernest Grandidier au Louvre (1870-1915) : voir, comprendre, donner à voir la porcelaine chinoise." Thesis, Université Paris sciences et lettres, 2021. http://www.theses.fr/2021UPSLP091.

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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

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Madsen, David andrew. "All Sorts of China Ware Large, Noble and Rich Chinese Bowls: Eighteenth-Century Chinese Export Porcelain in Virginia." W&M ScholarWorks, 1995. https://scholarworks.wm.edu/etd/1539625951.

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Shao, Leigh-Lin Ning. "Evaluation and critical analysis of the Chinese porcelains in the Whitwell collection Tatham Art Gallery: Pietermaritzburg." Thesis, 2002. http://hdl.handle.net/10413/3734.

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The first chapter is a broad review of the recent history of Chinese porcelain from the Ming period to the present day. It includes remarks on the ceramics town of Jingdezhen and on aspects of materials, construction techniques, glazing and enamelling as well as a brief summary of the types of wares. The second chapter is divided into two parts. The first part introduces the formation of the Tatham Art Gallery and the Whitwell Collection. The second part focuses, firstly, on the blue and white porcelain, secondly, on the enamelled porcelain. The pieces are individually physically examined and catalogued under these headings: General description, rim, foot ring, construction, iconography and motifs, glazes, marks and date. The last chapter compares the blue and white pieces, the enamelled pieces and both pieces. This chapter suggests the qualities and special attributes of the wares such as brush marks.
Thesis (M.A.F.A)-University of Natal, Pietermaritzburg, 2002.

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"Changsha ware in the Art Museum, the Chinese University of Hong Kong: reflections of daily life in the Tang Dynasty." 2005. http://library.cuhk.edu.hk/record=b5892615.

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Leung Yuen-fun Rachel.
Thesis submitted in: May 2004.
One leaflet mounted.
Thesis (M.Phil.)--Chinese University of Hong Kong, 2005.
Includes bibliographical references.
Abstracts in English and Chinese.
Chapter Chapter One: --- Historical Background
The discovery of the kiln sites --- p.1
The naming of Changsha ware --- p.3
The beginning of production --- p.5
Chapter Chapter Two: --- Development of Changsha ware
Duration of operation --- p.10
Stages of development --- p.11
Reasons for decline --- p.15
Chapter Chapter Three: --- Glaze and Kiln Characteristics of Changsha ware
Body --- p.18
Shaping method --- p.19
Glazes --- p.19
Kiln --- p.21
Chapter Chapter Four: --- Classification of Changsha ware in the Art Museum collection
Introduction --- p.24
Daily household wares --- p.25
Cultural and scholar's articles --- p.44
Toys --- p.47
Potter's tool --- p.51
Chapter Chapter Five: --- Decoration of Changsha ware in the Art Museum collection
Introduction --- p.53
Decorative technique --- p.54
Decorative motif --- p.59
Chapter Chapter Six: --- Changsha ware as reflections of daily life
Custom and religion --- p.78
Games --- p.94
Childhood education --- p.98
Cross cultural Communication --- p.100
Chapter Chapter Seven: --- Conclusion --- p.102

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Книги з теми "Porcelaine – Chine – Histoire"

John, Ayers, and Ho Chuimei, eds. Blanc de Chine: Porcelain from Dehua. Richmond, Surrey: Curzon, 2002.

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John, Ayers, Ho Chuimei, and Asian Civilisations Museum (Singapore), eds. Blanc de chine: Porcelain from Dehua. Chicago: Art Media Resources, 2002.

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Kerr, Rose. Blanc de Chine: Porcelain from Dehua. Singapore: Asian Civilisations Museum, 2002.

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White, Carolyn L., 1969- author, ed. Chinese Export Porcelains. Walnut Creek, CA: Left Coast Press, 2010.

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Scheurleer, D. F. Lunsingh. Chine de commande. Lochem: De Tijdstroom, 1989.

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Ruegg-Ruffieux, Clotilde. Porcelaines, regards d'artistes. Givisiez [Switzerland]: Editions du Kaolin, 2001.

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1772-1855, Jaquotot Marie Victoire, ed. Marie-Victoire Jaquotot , 1772-1855: Peintre sur porcelaine. Troyes: Librairie le trait d'union, 2006.

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Ferrer, Jean-Marc. Des funérailles de porcelaine: L'art de la plaque funéraire en porcelaine de Limoges au XIXe s. Limoges: Culture & patrimoine en Limousin, 2000.

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Rousmaniere, Nicole Coolidge. Vessels of influence: Chinese ceramics imported into Japan and the formation of the Porcelain industry. Ann Arbor, MI: UMI, 1998.

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Enlin, Yang. Chinesische Porzellanmalerei im 17. und 18. Jahrhundert. München: Klinkhardt & Biermann, 1986.

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Частини книг з теми "Porcelaine – Chine – Histoire"

Zarach, Stephanie. "China, Cutlery, Porcelain and Pottery." In British Business History, 76–78. London: Palgrave Macmillan UK, 1994. http://dx.doi.org/10.1007/978-1-349-13185-3_15.

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Zarach, Stephanie. "China, Cutlery, Porcelain and Pottery." In Debrett’s Bibliography of Business History, 61–63. London: Palgrave Macmillan UK, 1987. http://dx.doi.org/10.1007/978-1-349-08984-0_15.

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Edwards, Howell G. M. "History of China Production at Swansea and Nantgarw." In Welsh Armorial Porcelain, 95–135. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-97439-8_3.

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Perez-Garcia, Manuel. "Conclusions." In Palgrave Studies in Comparative Global History, 171–79. Singapore: Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-15-7865-6_5.

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Abstract The Spanish and Qing empires were connected through the agency of merchants, the trade networks they created, and the circulation of goods which fostered local demand. Trade routes, mainly the maritime economic arteries such as the Manila galleons, connected and integrated Western markets and polities, in this case the Spanish empire with the Middle Kingdom. The constant inflow of American silver into China and the outflow of highly prized Chinese goods (i.e. silk, tea, porcelain) into European and American markets were the main features for such market integration between the Bourbon (French) Spanish empire and the Qing (Manchu, non-Han) dynasty. This surpassed the realm of official institutions of both empires along with their concomitant weak state capacity.

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"Qianlong: Letter to George III." In Milestone Documents in World History. Schlager Group Inc., 2024. https://doi.org/10.3735/9781961844056.book-part-079.

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Arguably the earliest communication between a monarch of China and the ruler of a European country, Qianlong’s letter to George III was the official response to Lord George Macartney’s mission, sponsored by the British East India Company in cooperation with the British government, to secure diplomatic relations and improved trade conditions with the Qing Dynasty. From its establishment in 1600, the British East India Company was a major exporter of silk, tea, porcelain, and lacquerware from China to England and the rest of Europe. Beginning in the mid-eighteenth century, the East India Company also attempted to sell English and European goods, most of them manufactured products, to China in order to offset a mounting trade deficit. Before the Macartney embassy, the company had sent emissaries to China, hoping to broaden trade relations and gain better access to the Chinese market. None of them was successful.

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Chu, Jinyi. "Russian Cathays." In Fin-de-siècle Russia and Chinese Aesthetics, 85–122. Oxford University PressOxford, 2024. http://dx.doi.org/10.1093/oso/9780198920397.003.0005.

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Abstract This chapter argues that a literary fashion of translating and inventing Chinese poetry emerged in fin-de-siècle Russia, parallel to that in Britain and the US (Ezra Pound), France (Judith Gautier), and Germany (Klabund). It examines Russian anthologies of Chinese poetry published between 1896 and 1923: the poetic translations of Konstantin Balmont’s Calls of Antiquity (1909), Voldemārs Matvejs’s The Flute of China (1914), and Nikolai Gumilev’s The Porcelain Pavilion (1918). All three Russian translators relied on existing European translations. By reconstructing the history of these anthologies, the chapter shows how these Russian translations were produced in direct dialogue with their Western counterparts. Following Western trends, Russian poets used the translation of Chinese poetry to reinvigorate the Russian poetic language, even as they critiqued Western appropriations of China.

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Li, Weidong, Xiaoke Lu, Hongjie Luo, Zhiwen Zhao, and Xinmin Sun. "Tracing the Origin and Evolution of White Porcelain in Ancient China." In Series on Archaeology and History of Science in China, 333–51. CO-PUBLISHED WITH WORLD CENTURY PUBLISHING CORPORATION, 2016. http://dx.doi.org/10.1142/9789814630290_0017.

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Li, Jiazhi, and Juan Wu. "Formation and Development of Ancient Chinese High Temperature Porcelain Glaze Technology." In Series on Archaeology and History of Science in China, 559–85. WORLD SCIENTIFIC, 2021. http://dx.doi.org/10.1142/9789811229770_0015.

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Wu, Juan, Maolin Zhang, Junming Wu, Qijiang Li, Jiazhi Li, and Zequn Deng. "A Study of the Diverse Origins and Primary Development of Chinese High Temperature Porcelain Glazes." In Series on Archaeology and History of Science in China, 319–32. CO-PUBLISHED WITH WORLD CENTURY PUBLISHING CORPORATION, 2016. http://dx.doi.org/10.1142/9789814630290_0016.

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Li, Guoxia, H. W. Sun, R. W. Li, X. L. Zhang, W. J. Zhao, W. J. Zhao, Y. Yang, W. Li, and M. M. Cai. "Research on Glaze-Coloring Mechanism of the Light Sky-blue Series of Ancient Jun Guan Porcelains using Modern Analysis Techniques." In Series on Archaeology and History of Science in China, 375–84. CO-PUBLISHED WITH WORLD CENTURY PUBLISHING CORPORATION, 2016. http://dx.doi.org/10.1142/9789814630290_0019.

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Тези доповідей конференцій з теми "Porcelaine – Chine – Histoire"

Wang, Haina, Fangfei Liu, and Yun Chen. "The Characteristics and Influencing Factors of the Colour of the Cizhou Kiln Porcelain." In AHFE 2023 Hawaii Edition. AHFE International, 2023. http://dx.doi.org/10.54941/ahfe1004222.

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Chinese ceramic art boasts a rich and diverse history, and the colours of porcelain produced by different kilns reflect the aesthetic preferences, socio-cultural developments, and historical contexts of various periods and regions. Among the folk kilns in China, the Cizhou kiln stands out for its unique black-and-white colour scheme. While existing studies have extensively analyzed the history, decorative patterns, and shapes of Cizhou porcelain, few have explored the colour characteristics of the kiln and the factors that influence them. Therefore, this study aims to conduct a comprehensive investigation into the colour characteristics of Cizhou porcelain and shed light on the underlying factors that shape them. Methods: In this study, a dataset comprising 50 images of ancient Chinese porcelain and 50 images of Cizhou kiln porcelain was sourced from the internet. The main colours of each porcelain were extracted to construct the Ancient Chinese Porcelain Palette and the Cizhou Kiln Porcelain Palette, respectively, to analyze the colour characteristics of Cizhou kiln porcelain by comparing them to those of Ancient Chinese Porcelain. It was found that the porcelain from the Cizhou kiln is mainly black and white, with sharp contrast and simplicity, reflecting a unique aesthetic style. In addition, semi-structured interviews were conducted with a docent of the Cizhou Kiln Historical Museum, local potters, and the owner of a porcelain shop to verify the results of the image analysis and explore the factors that influence the colour of the porcelain. The interview results were coded at three levels to extract keywords regarding the characteristics and influencing factors of the colour of the porcelain of the Cizhou kiln.Results: The study revealed that the colours of the Cizhou kiln porcelain are mainly black and white, and they are mainly influenced by the period, region, and social culture. Firstly, the unique colour style of the Cizhou kiln porcelain developed during the Song Dynasty, but it changed over time with changes in the social environment, aesthetic concepts, and production process. Secondly, the rugged and bold character of the local inhabitants and the mineral raw materials unique to the region also influenced the choice of colour. Lastly, the Cizhou kiln is a civil kiln with more artistic freedom compared to official kilns, reflecting folk aesthetic interests and presenting bold, natural, and simple colours.Research Significance: This study of the Cizhou kilns from the perspective of colour is of great significance for a deeper understanding of the porcelain of the Cizhou kiln and provides helpful insights for exploring the trajectory of the development of traditional Chinese ceramic art and aesthetic changes. The results of the study can contribute to the innovation and promotion of the development and dissemination of ceramic art in contemporary society. Furthermore, the study results in a model of the colour-influencing factors of the porcelain of the Cizhou kiln, which is of extensive reference significance for the investigation of the reasons for the formation of the colours of other porcelain.

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