An Investigation on Copper Red Glazes from Jingdezhen of the Ming and Qing Dynasties

1990 ◽  
Vol 185 ◽  
Author(s):  
Li Guozhen ◽  
Liu Zeyong ◽  
Guo Yengyi
Keyword(s):  
Ming Dynasty ◽  
Song Dynasty ◽  
Tang Dynasty ◽  
Yuan Dynasty ◽  
X Ray Diffraction ◽  
The Qing Dynasty ◽  
The Song Dynasty ◽  
Ming And Qing Dynasties ◽  
High Regard ◽  
Sophisticated Technology

AbstractCopper red glazes made at the pottery center of Jingdezhen during the Ming and Qing dynasties are one of the most famous and precious porcelain products of China. They were based on earlier technology developed in the Tong-guan kiln in Tang dynasty and on the Ru and Jun wares of the Song dynasty. The earliest copper red glazes appeared as early as the late Yuan dynasty. The dazzlingly beautiful altar red and ruby red products were created at Jingdezhen in the Yongle and Xuande periods of the Ming dynasty. Other copper reds created at Jingdezhen were the Longyao red of the Kangxi period and the imitation Jun, flambe amd others of Yongzhen and Qianlong periods of the Qing dynasty. Chinese copper red glazes have been held in high regard throughout the world, and many have wondered at their complex and sophisticated technology. Through analysis, we unlock some of the technical secrets of these famous wares in order that more people may appreciate the technical excellence underlying the visual appearances of these wares and that these glazes may be replicated better by contemporary ceramic factories in Jingdezhen.Seven examples of Jingdezhen copper red glazes were analyzed by scanning electron microscopy, x-ray diffraction, refiring tests and microprobe analysis to determine the compositions, microstructures and firing temperatures.

Modes and textures of secondary minerals on Chinese coins of different ages

2003 ◽  
Vol 67 (1) ◽  
pp. 23-29 ◽  
Author(s):  
J. N. Fang ◽  
L. P. Tan ◽  
E. Huang
Keyword(s):  
Qing Dynasty ◽  
Ming Dynasty ◽  
Song Dynasty ◽  
Secondary Mineral ◽  
Secondary Minerals ◽  
The Qing Dynasty ◽  
The Song Dynasty ◽  
Different Ages ◽  
The Ming Dynasty

AbstractA thorough assessment of the secondary minerals on 796 Chinese Pb-Cu-Sn-Zn bronze coins from ∼1100 BC to AD 1911 has been made. Malachite is found on more than 80% of the coins irrespective of their dynasties, but a botryoidal texture is only observed on the coins of the Song dynasty or older. Azurite, however, is seen in microscopic quantities on a single coin of ∼AD 1800, but is clearly visible on the Ming dynasty or older coins. Cerussite is a common secondary mineral of the Qin dynasty and older coins, though it has not been found on the Qing dynasty or younger coins. Cuprite is observed on the Song dynasty and older coins.

scholarly journals THE USE AND ARTISTIC FEATURES OF XUANZI POLYCHROME PAINTING IN THE MING AND QING DYNASTIES

2020 ◽  
Vol 16 (3) ◽  
pp. 134-144
Author(s):  
Zhen Nyanchen
Keyword(s):  
Qing Dynasty ◽  
Ming Dynasty ◽  
Yuan Dynasty ◽  
The Qing Dynasty ◽  
Chinese Architecture ◽  
Ming And Qing Dynasties ◽  
Primary Type ◽  
The Yuan Dynasty ◽  
The Ming Dynasty

In the field of the pictorial decoration of Chinese architecture, the decor of the period of the Ming and Qing dynasties is considered the most outstanding since, at that time, the technique was perfect, and the methods of decoration were rich in their diversity, which was not possible in previous eras. The polychrome painting of official buildings during the Ming and Qing dynasties’ reign is quite different from the Song dynasty’s polychrome painting. The transition from the Song dynasty’s polychrome painting to the Ming and Qing dynasties’ polychrome painting was completed during the Yuan dynasty’s reign. Due to the decrease of dougong in size in the Ming dynasty, polychrome painting began to be placed on beams. Xuanzi polychrome painting, which originated from painting beams under the Yuan dynasty, became the primary type. By the Qing dynasty, Hexi polychrome painting and Suzhou polychrome painting, which evolved from the folk polychrome painting of the Jiangnan region of the Ming dynasty, appeared. The Xuanzi type was one of the three main polychrome painting types in the Qing dynasty. It was fully developed compared to the Hexi type as it was used more widely. The article explains the development of the artistic features of the various decorative parts of Xuanzi polychrome painting during the Ming and Qing dynasties, the characteristics of each gradation, and the method of distinguishing it, as well as its place of application.

Analysis on the Cloud Shoulder Pattern of the Yuan Dynasty Fabrics

2013 ◽  
Vol 821-822 ◽  
pp. 823-828
Author(s):  
Ke Yan Liu
Keyword(s):  
Song Dynasty ◽  
Tang Dynasty ◽  
Han Dynasty ◽  
Yuan Dynasty ◽  
The Song Dynasty ◽  
The Tang Dynasty ◽  
The Yuan Dynasty ◽  
Cloud Pattern ◽  
Usual Pattern ◽  
White Porcelain

The cloud shoulder pattern with four weeping clouds shape commonly used for decorating the parts from collar to shoulder for clothing and shoulder part for blue and white porcelain can be traced back to persimmon calyx pattern of the Han Dynasty. In the Tang Dynasty, the pattern of a four-petal leaf as first went for pattern details change and later advanced into cross flower, developing into the usual pattern decorated on fabrics. Till the Song dynasty, persimmon calyx pattern combined with Ruyi cloud (auspicious cloud) and was applied to architectures. However, the Yuan Dynasty’s shoulder cloud pattern with four weeping clouds shape used for decorating shoulders of clothing or porcelain was generated from combination of Ruyi cloud persimmon calyx pattern and “Bo” which was used to keep necks from wind and sand for Nomads in northern part of the country and developed into the cloud shoulder pattern focusing on decorating the shoulder of clothing and widely was used for nobles’ clothing. Gradually, the pattern was used for decorating crafts such as blue and white porcelain and gold and silver ware in the Yuan Dynasty. The cloud shoulder pattern spread from nobles to folks and was popular for decoration.

scholarly journals Silent Accord: Qi 契 as a Metaphor for Enlightenment and Transmission in Chan Buddhist Discourse

Religions ◽  
2021 ◽  
Vol 12 (4) ◽  
pp. 279
Author(s):  
Aleksi Järvelä ◽  
Tero Tähtinen
Keyword(s):  
Song Dynasty ◽  
Tang Dynasty ◽  
Historical Background ◽  
The Song Dynasty ◽  
History Of

In this paper, we explore the historical background and the semantic underpinnings of a central, if marginally treated, metaphor of enlightenment and transmission in Chan discourse, “silent accord” 默契. It features centrally in Essentials of the Transmission of Mind 傳心法要, a text that gathers the teachings of Chan master Huangbo Xiyun (d. ca. 850), a major Tang dynasty figure. “Silent accord” is related to the concept of mind-to-mind transmission, which lies at the very core of Chan Buddhist self-understanding. However, Chan historiography has shown that this self-understanding was partially a product of the Song dynasty lineage records, historically retroactive syncretic constructs produced by monks and literati as efforts towards doctrinal and political recognition and orthodoxy. There are thus lacunae in the history of Chan thought opened up by the retrospective fictions of Song dynasty, and a lack of reliable, dateable documents from the preceding Tang dynasty era, possibly fraught with later additions. We situate the metaphor “silent accord” in the history of Chan thought by searching for its origins, mapping its functions in Chan literature, arguing for its influence and thereby its role in helping to bridge the 9th century gap.

Late Imperial Economy, 960–1895

2013 ◽  
Author(s):  
Tim Wright
Keyword(s):  
Economic History ◽  
Song Dynasty ◽  
Tang Dynasty ◽  
Western Europe ◽  
18Th Century ◽  
Chinese Economy ◽  
Early 19Th Century ◽  
Late Imperial ◽  
The Song Dynasty ◽  
European Experience

Although for most purposes “late imperial China” refers to the Ming and Qing dynasties (1368–1911), many scholars believe that key aspects of China’s late imperial economy came into existence as a result of a series of changes that began in the late Tang dynasty and culminated during the Song dynasty, known as the “Tang-Song transformation.” While these changes included, for example, the growth of markets, they were by no means limited to—or even mainly related to—economic history but included political changes, such as those in the nature of the elite. Without prejudging the issue, this article covers the whole period from the establishment of the Song dynasty to the first Sino-Japanese War, after which railways and economic modernization began to change the Chinese economy. The old stereotype of premodern China as unchanging and economically stagnant has long been discarded, and scholars recognize that China had a dynamic and successful economy that managed to feed a growing population and developed a range of sophisticated institutions. The stereotype is now being turned on its head, and many are asking whether as late as the 18th century at least parts of China were as prosperous and as advanced as western Europe, whether Chinese commercial and legal institutions were as accommodating of economic growth as those in Europe, and, as a result, how one can explain the “great divergence” that took place between Europe and the rest of the world from (in this view) the early 19th century. A further underlying issue is to what extent models based on the European experience can be used to understand or explain development patterns in China. The most notable example of trying to force Chinese development into a European framework was of course Marxist stage theory. But more recently “Eurocentric” theories and models of development that are based on the European experience have been more widely rejected coupled with attempts to develop more distinctively Chinese—or Asian—models.

Zhao Luanluan and Her Tale

2019 ◽  
Vol 23 (2) ◽  
pp. 112-134
Author(s):  
Olivia Milburn
Keyword(s):  
Short Stories ◽  
Ming Dynasty ◽  
Tang Dynasty ◽  
Yuan Dynasty ◽  
Women's Poetry ◽  
Main Protagonist ◽  
The Yuan Dynasty ◽  
Female Poets ◽  
The Ming Dynasty

Abstract Zhao Luanluan 趙鸞鸞 is the main protagonist of an early Ming dynasty work of fiction, the “Luanluan zhuan” 鸞鸞傳 or “The Tale of Luanluan” by Li Changqi 李昌祺 (1376–1452), which is found in his collection of twenty-two short stories: Jiandeng yuhua 剪燈餘話 (More Stories Written While Trimming the Lamp). Zhao Luanluan is here described as a woman poet who is caught up in the fall of the Yuan dynasty, but subsequently she was further fictionalized as a Tang dynasty courtesan, and her poetic works reattributed to this imaginary person. Furthermore other related fictional female poets of the Ming dynasty have also been treated as genuine historical individuals, and their writings are included in many major anthologies of women’s poetry. This paper argues that the boundaries between genuine female poets and fictional female poets created by male writers have been consistently ignored.

Women Rulers in Imperial China

NAN Nü ◽  
2013 ◽  
Vol 15 (2) ◽  
pp. 179-218 ◽  
Author(s):  
Keith McMahon
Keyword(s):  
Song Dynasty ◽  
Tang Dynasty ◽  
Extreme Case ◽  
Han Dynasty ◽  
The Song Dynasty ◽  
Women Rulers ◽  
History Of ◽  
The Tang Dynasty ◽  
Imperial China

“Women Rulers in Imperial China”is about the history and characteristics of rule by women in China from the Han dynasty to the Qing, especially focusing on the Tang dynasty ruler Wu Zetian (625-705) and the Song dynasty Empress Liu. The usual reason that allowed a woman to rule was the illness, incapacity, or death of her emperor-husband and the extreme youth of his son the successor. In such situations, the precedent was for a woman to govern temporarily as regent and, when the heir apparent became old enough, hand power to him. But many women ruled without being recognized as regent, and many did not hand power to the son once he was old enough, or even if they did, still continued to exert power. In the most extreme case, Wu Zetian declared herself emperor of her own dynasty. She was the climax of the long history of women rulers. Women after her avoided being compared to her but retained many of her methods of legitimization, such as the patronage of art and religion, the use of cosmic titles and vocabulary, and occasional gestures of impersonating a male emperor. When women ruled, it was an in-between time when notions and language about something that was not supposed to be nevertheless took shape and tested the limits of what could be made acceptable.

Of the Water Gate on the Ancient City Wall of China

2014 ◽  
Vol 1030-1032 ◽  
pp. 823-826
Author(s):  
He Qun Li ◽  
Yan Li Wu
Keyword(s):  
Song Dynasty ◽  
Tang Dynasty ◽  
Sluice Gate ◽  
City Wall ◽  
The Song Dynasty ◽  
Water Gate ◽  
Ancient City ◽  
The Tang Dynasty

On the ancient city wall of China, the water gate used to been built. Probably before the Tang Dynasty, it always took the shape of hole in order to drain and prevent others from entering city. From the Song Dynasty on, for the sake of navigation, the majority of water gates became the sluice gate that could go up and down.

Chinese Budhi ST Brconzes in the Freer Gallery of Art: Physical Features and Elemental Composition

1992 ◽  
Vol 267 ◽  
Author(s):  
Paul J Eit ◽  
Janet G. Douglas
Keyword(s):  
Ming Dynasty ◽  
Song Dynasty ◽  
Brass Alloy ◽  
Metallographic Examination ◽  
The Song Dynasty ◽  
Tin Bronze ◽  
Alloy Type ◽  
Metal Composition ◽  
Northern Wei ◽  
Physical Features

ABSTRACTTechnical studies were performed on one hundred and seven Chinese copper-alloy sculptures dating from the fifth to the nineteenth centuries A. D. in the collection of the Freer Gallery of Art. X-radiography, stereomicroscopy and metallography were used to determine various physical features; atomic absorption spectroscopy was used to characterize the metal composition. All sculptures were determined to be cast by the lost wax method, and details were tooled by engraving and chasing. Metallographic examination and microprobe analysis showed that the gilding technique used was mercury gilding. Bronzes from the Northern Wei to the Song dynasty are similar in their physical characteristics and alloy type, leaded tin bronze. Beginning in the Ming dynasty, an increase in the amount of zinc is found, both as an impurity in tin bronzes and as a brass alloy constituent.

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