Microscopic analysis of “iron spot” on blue-and-white porcelain from Jingdezhen imperial kiln in early Ming dynasty (14th-15th century)

2016 ◽  
Vol 79 (11) ◽  
pp. 1123-1130 ◽  
Author(s):  
Wenxuan Wang ◽  
Jian Zhu ◽  
Jianxin Jiang ◽  
Changqing Xu ◽  
Shurong Wu ◽  
...  
Keyword(s):  
Ming Dynasty ◽  
Microscopic Analysis ◽  
15Th Century ◽  
White Porcelain

scholarly journals Ming Gap and the Revival of Commercial Production of Blue and White Porcelain in China

2012 ◽  
Vol 31 ◽  
pp. 85 ◽  
Author(s):  
Yew Seng Tai
Keyword(s):  
Southeast Asia ◽  
Ming Dynasty ◽  
Commercial Production ◽  
Raw Material ◽  
White Porcelain

This paper lists the blue and white porcelains excavated with date inscriptions or from datable tombs in China and shows that there was a ‘Ming Gap’ of blue and white porcelain in China too. Previously, Ming Gap was thought to be restricted to Southeast Asia. This author argues that no blue and white porcelain was allowed to produce in commercial kilns in early Ming Dynasty. But, when the needed raw material, cobalt--which relied on trade in the time of Ming Ban--could be produced locally, the commercial production of blue and white porcelain restarted.

Multi-micro analytical studies of blue-and-white porcelain (Ming dynasty) excavated from Shuangchuan island

2019 ◽  
Vol 45 (10) ◽  
pp. 13362-13368 ◽  
Author(s):  
Jinxiu Wen ◽  
Zikun Chen ◽  
Qingguang Zeng ◽  
Linshun Hu ◽  
Bo Wang ◽  
...  
Keyword(s):  
Ming Dynasty ◽  
Analytical Studies ◽  
White Porcelain

scholarly journals Items of Tributary Gifts (Pangmul 方物) Sent to the Ming Dynasty by Chosŏn and their Changing Trends

2021 ◽  
Vol 26 (2) ◽  
pp. 151-180
Author(s):  
Doyoung Koo
Keyword(s):  
Ming Dynasty ◽  
Precious Metals ◽  
17Th Century ◽  
16Th Century ◽  
Choson Dynasty ◽  
15Th Century ◽  
Changing Trends ◽  
The Ming Dynasty

This paper examines changes and trends in tributary gifts (pangmul 方物) sent by Chosŏn regular envoys to the Ming Emperor during the 15th and 17th centuries. First, pangmul items sent by the Chosŏn to the Ming were partially inherited from the Koryŏ era. Second, it examines how King Sejong’s 1429 request that the Chosŏn court pay its tribute by means other than gold and silver led the court to offer specialty goods as tribute instead of precious metals. It then moves on to explore how economic scarcity resulting from the Imjin Wars of 1592 led Chosŏn pangmul to be composed mostly of folding fans and stationery items such as paper (kyŏngmyŏnji, paekmyŏnji, and oil paper), inkstones (hwayŏn), ink (chinmuk and yumaemuk) and writing brushes (hwangmopil)–the dynasty’s common, major export goods. After the war, the Chosŏn dynasty regained stability and returned to its pre-war pangmul practices. However, the pangmul were not completely fixed and showed tentative patterns, going back and forth between the practices of the 15th century and the new circumstances of the 17th century. In short, this paper explores how pangmul practices were not completely fixed, and how contingencies such as the war and the changing landscape of manufacturing in 16th-century Korea influenced the composition of Chosŏn pangmul.

scholarly journals The Study on the Style and Value of Stone Buddha Statue of Hoeamsa Temple in Yangju

2021 ◽  
Vol 312 ◽  
pp. 109-139
Author(s):  
Kyung-mi Kim
Keyword(s):  
East Asia ◽  
Ming Dynasty ◽  
16Th Century ◽  
Royal Family ◽  
Buddhist Art ◽  
15Th Century ◽  
Clothing Style ◽  
Joseon Dynasty ◽  
The Buddha ◽  
The Temple

This study focus on the characteristics and of the Fragment of Stone Buddha of Hoeamsa Temple(檜巖寺). As is well known, this temple had been developed rebuilding by supporting of the royal family from the late of Korea Dynasty to the early of Joseon Dynasty(朝鮮). The Hoeamsa Temple Site in Yangju(陽州) is believed to have been destroyed in a fire in the late 16th century, and various artifacts have been excavated after several excavations since 1999. This Temple has been excavated a variety of Fragment of Stone Buddha statues. The Buddha statue of Hoeamsa Temple in Yangju has a hole on top of high usnisa(肉髻), and special folds in the left arm and a thick clothing style. It was reflects the sculptural Joseon style modified by the Tibet-Chinese style. This style is very similar to that of Buddha statues produced in the 15th century, supported by the royal family of Joseon. In particular, these statues were believed to have been produced around the first half of the 15th century when the temple was heavily fortified with the support of Prince Hyo-ryeong(孝寧大君). It is also interesting to note that these statues show the sculptural features of the early Joseon Dynasty, reflecting the Tibetan-Chinese sculptures style, compared to those of the Buddhist sculptures in the first half of the 15th century during the year of Yeongrak (1403~1424) and Seondeok (1426~1435), the kings of the Ming Dynasty. This reflects the development of Buddhist sculptures in the early Joseon Dynasty in line with the trend of Buddhist art in East Asia.

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