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Jul

3

Celadon Washer Applied with Four Molded Fish, Longquan Ware

By Ceramic Design Ideas



Celadon Washer Applied

 

Yuan Dynasty (1271-1368)

Longquan kiln is located in Longquan, Zhejiang province When the washer is filled with water, the four fish seem swimming freely in a pond. Located in Longquan county of Zhejiang province, the Longquan kiln was the largest non-official kiln complex in south China during the Song (960-1279) and Yuan dynasties. Longquan wares were exported to many countries including Japan, the Philippines, Malaysia, Pakistan, India, and Egypt. Here is a case in point: Among some 17,000 porcelain wares datable to the Yuan dynasty recovered from a sunken vessel under the sea of South Korean in 1976, more than 9,000 were Longquan wares.

Jul

1

Blue-and-white Cup with the Design of Lions Playing with Balls in the Bottom

By Ceramic Design Ideas



Blue-and-white Cup

Yongle Reign (1403-1424), Ming Dynasty (1368-1644)

This is a new style of cup developed at Jingdezhen imperial kilns during the Yongle reign (1403-1424). The thick wall, the flared mouth, and the low position of the center of gravity of the cup together create a sense of pressure as one holds it with the space between the thumb and the index finger. Thus, it is also known as a “press-hand cup” (yashou bei). In the center of the interior bottom painted a pair of lions playing with an embroidered ball, inside which a four-character Yongle reign mark is inscribed in seal script (zhuan shu). The motif of lions playing with a ball symbolizes peace and auspiciousness. This is one of the four extant press-hand cups with Yongle reign mark, which are all in the collections of the Palace Museum.

Jun

30

Red Pottery Pot

By Ceramic Design Ideas



Red Pottery Pot

Cishan Culture (ca. 6000-5600 BCE), Neolithic Era (ca. 10000- ca. 2000 BCE)

A yu is a vessel for serving grain or soup. Because the sand-tempered red ceramic provides increased heat resistance, this red yu was probably a cooking vessel. The Cishan culture is named after the village of Cishan, in Wu’an county, Hebei province, where the first finds of this type were made in 1972. It dates to the Northern China Middle Neolithic, 6000-5600 BC.

Jun

26

Red Pottery Bowl with Flat Bottom

By Ceramic Design Ideas



Red Pottery Bowl with Flat Bottom

Cishan Culture (ca. 6000-5600 BCE), Neolithic Era (ca. 10000- ca. 2000 BCE)

Pottery of the Cishan culture is dominated by red pottery, and the bowl is one of the most common forms. The Cishan culture is named after the village of Cishan, in Wu’an county, Hebei province, where the first finds of this type were made in 1972. It dates to the Northern China Middle Neolithic, 6000-5600 BC.

Jun

1

High-stemmed Black Pottery Cup

By Ceramic Design



High-stemmed Black Pottery Cup

High-stemmed Black Pottery Cup – Shantung Lung-shan Culture (ca. 2600-2000 BC), Neolithic period. Height: 24 cm, rim diameter: 11 cm, base diameter: 6 cm.

During the Lung-shan Culture, the technique of using a potting wheel to produce ceramic objects was developed. Vessels with very thin walls could be made, and even carved with openwork patterns, in what became known as “egg-shell pottery”. In the kiln, the adding of charcoal at the very end or closing the air intake would create a flux of carbon that creates black pottery.

 

Jun

1

White Pottery Gui Pitcher

By Ceramic Design



White Pottery Gui Pitcher – Late Ta-wen-k’ou Culture (ca. 4200-2600 BC), Neolithic period, Height: 29.5 cm, body height: 21.6 cm, width at widest: 16.9 cm

White Pottery Gui Pitcher

White pottery was made using clay with a higher concentration of aluminum oxide that is then fired. The potters in the Ta-wen-k’ou Culture used clay to fashion vessels like this one for alcoholic beverages that suggest an abstract bird craning its neck as it cries out.

May

11

Prunus Vase with Sky-clearing-red Glaze

By Ceramic Design



Prunus Vase with Sky-clearing-red Glaze

Kangxi Reign (1662-1722), Qing Dynasty (1644-1911)
Height: 24.2 cm
Mouth diameter: 3.4 cm
Foot diameter: 7.8 cm

Covered with sky-clearing-red glaze, the vase has a small mouth, a short neck, wide shoulders, a slightly downward tapering body and a white nephrite-disk-shaped bottom, on which is written a blue-and-white seal in regular script with the date of manufacture: “Made in Kangxi period of Qing dynasty”. The seal has no borders. The regular-shaped and uniformly-glazed vase indicates that the high temperature copper-red porcelain, which failed to be handed down from the middle period of the Ming dynasty, was rejuvenated in the Jingdezhen imperial kiln during the Kangxi reign.
  The main kinds of high temperature copper-red glaze in the Kangxi period are sky-clearing red, lang-kiln red and kidney-bean red, each with a distinct identity. Characterized by uniform glaze and rich color, sky-clearing-red ware, besides serving as sacrificial vessels, were also used for implements in the scholar’s studio and for objects of daily use.

Mar

12

Ceramics throughout the Past Dynasties in the Collection of the Palace Museum

By Ceramic Design



A total of 429 ceramic objects, representing a comprehensive history of the development of Chinese ceramics, comprise this permanent exhibition. The new exhibition incorporates the newest advancements in ancient ceramics research. Housed in an expanded exhibition space, the new exhibition utilizes electronic technology to better educate and interact with viewers. Optimal lighting allows viewers to see the objects more clearly. A specially designed electronic exhibition area, which includes educational films, touch screens and interactive games provide a fun learning experience for children and adults. Moreover, electronic touch screens located throughout the exhibition allow viewers to learn more about the displayed works.
Ceramics throughout the Past Dynasties in the Collection of the Palace Museum

Visiting Information 
Opening times
Ticket sold:8:30—15:30
Openning Hours:8:30—16:30
Last Entry:15:40
Admission:Ticket: 40 rmb/person
           Treasure Gallery: 10 rmb/person
           Clock Gallery: 10 rmb/person
           Children under 120 cm in height are free of charge

Jan

8

Pearl River Rice Bowls

By Ceramic Design



Pearl River Rice Bowls Set, Cabin Decor Ideas, Clare’s Wares

pearl-river-ceramic-bowls

Pearl River Ceramic Bowls
If you’re ever in New York City, don’t miss the chance to stop by this massive store in Chinatown (billed as “the first Chinese-American department store” when it opened 30 years ago) for the chance to peruse a bevy of authentic Chinese goods, from silky satin slippers to beautiful lacquered bowls. If you can’t make it to New York, don’t worry—the store now sells a great selection of its wares online.

Feb

21

Influences – Blue and white porcelain

By Ceramic Design



Influences on Islamic pottery

Further information: Chinese influences on Islamic pottery and İznik pottery

Chinese blue and white ware became extremely popular in the Middle-East from the 14th century, where both Chinese and Islamic types coexisted.

From the 13th century, Chinese pictorial designs, such as flying cranes, dragons and lotus flowers also started to appear in the ceramic productions of the Near-East, especially in Syria and Egypt.

Chinese porcelain of the 14th or 15th century was transmitted to the Middle-East and the Near East, and especially to the Ottoman Empire either through gifts or through war booty. Chinese designs were extremely influential with the pottery manufacturers at Iznik, Turkey. The Ming “grape” design in particular was highly popular and was extensively reproduced under the Ottoman Empire.

Influences on European porcelains

Early influences

Chinese blue-and-white ware were copied in Europe from the 16th century, with the faience blue-and-white technique called alla porcelana. Soon after the first experiments to reproduce the material of Chinese blue-and-white porcelain were made with Medici porcelain. These early works seem to be mixing influences from Islamic as well as Chinese blue-and-white wares.

Direct Chinese imitations

By the beginning of the 17th century Chinese blue and white porcelain was being exported directly to Europe. In the 17th and 18th centuries, Oriental blue and white porcelain was highly prized in Europe and America and sometimes enhanced by fine silver and gold mounts, it was collected by kings and princes.

The European manufacture of porcelain started at Meissen in Germany in 1707. The detailed secrets of Chinese hard-paste porcelain technique were transmitted to Europe through the efforts of the Jesuit Father Francois Xavier d’Entrecolles between 1712 and 1722.

The early wares were strongly influenced by Chinese and other Oriental porcelains and an early pattern was blue onion, which is still in production at the Meissen factory today. The first phase of the French porcelain was also strongly influenced by Chinese designs. Early English porcelain wares were also influenced by Chinese wares and when, for example, the production of porcelain started at Worcester, nearly forty years after Meissen, Oriental blue and white wares provided the inspiration for much of the decoration used. Hand-painted and transfer-printed wares were made at Worcester and at other early English factories in a style known as Chinoiserie. Many other European factories followed this trend. In Delft, Netherlands blue and white ceramics taking their designs from Chinese export porcelains made for the Dutch market were made in large numbers throughout the 17th Century. Blue and white Delftware was itself extensively copied by factories in other European countries, including England, where it is known as English Delftware.

Patterns

The plate shown in the illustration (left) is decorated with the famous willow pattern and was probably made at a factory in the English county of Staffordshire. Such is the persistence of the willow pattern that it is difficult to date the piece shown with any precision; it is possibly quite recent but similar wares have been produced by English factories in huge numbers over long periods and are still being made today. The willow pattern, said to tell the sad story of a pair of star-crossed lovers, was an entirely European design, though one that was strongly influenced in style by design features borrowed from Chinese export porcelains of the 18th Century. The willow pattern was, in turn, copied by Chinese potters, but with the decoration hand painted rather than transfer-printed.