Rediscovering the largest kiln site in the middle Yangtze River Valley: insights into Qingbai and grey-greenish ware production at Husi kiln site based on bulk chemical analysis

This paper presents new data from the Husi kiln site, Hubei Province, China, where the unusual size calls into question the primacy of Jingdezhen in porcelain production in medieval China. With its over 180 kilns, the site rivals Jingdezhen in size, yet it has found no mention in textual accounts. The wares produced at Husi include Qingbai and grey-greenish ware of the Tang and the Song periods (seventh to thirteenth century AD). This paper presents compositional data obtained using LA-ICP-MS on samples from five kilns at Husi, comparing them with published data from other kilns. The data set Husi apart, thus allowing for fingerprinting its wares. Based on bulk chemical analysis, the paper furthermore explores the idea that Husi combined elements of southern and northern technologies, thus connecting these two ceramic traditions that previously had been seen as being entirely separate. Some key elements of the early Qingbai ware glaze from Husi resemble wares from Jingdezhen, suggesting a connection between the two sites; however, the glaze recipes for later wares found at Husi differ, indicating that its customer base and marketing strategy changed over time. Furthermore, the iron content of the grey-greenish ware from Husi is extraordinarily high, indicating a unique glaze recipe and production technology independent from Jingdezhen.

Piecing Shards Together

The imperial manufacture of porcelain in the Qing dynasty was always related to the broad state economy and politics, especially ritual. As has been revealed in administrative regulations and raw material supply, porcelain production seemed to be an independent operation like other court art production. However, as evidence regarding managerial personnel, finance, quality control, and design shows, the technology for producing porcelain was integral to other material production at court. Thus, multiple productive processes were interdependent and they influenced each other. The productive processes and products of court art showcase the character of monarchical industry.

Porcelain interior plastic of the 1950s in museums and private collections in China

In the two decades since the establishment of the people’s Republic of China, the challenges facing porcelain production have changed significantly. Porcelain production is one of the most important and oldest traditions in China. In the 1950s, porcelain craftsmen became involved in the creation of new forms of interior plastics. Many of the pieces they created are now part of museum collections and represent the history of the development of Chinese interior porcelain. Using the example of three museums and three reference monuments, the article examines the key trends in the development of porcelain art and stylistic changes that occurred during this period. The following museums have been selected as examples to showcase the specifics of Chinese porcelain art from this period: the China Ceramic and Porcelain Museum located in Jingdezhen City, which is the country’s first major art museum specializing in ceramics; the Chinese Fine Arts Museum in Beijing, which specializes in collecting, researching and displaying works of Chinese artists of modern and contemporary eras; and the Guangdong Folk Art Museum, which specializes in collecting, researching and displaying Chinese folk art. All of these museums are engaged in collecting porcelain, including interior porcelain plastics from the mid-20th century. In the collections of the aforementioned museums, three works were selected for analysis. These are three paired compositions created in the second half of the 1950s: the sculpture “An Old Man and a Child with a Peach” by Zeng Longsheng, “Good Aunt from the Commune” by Zhou Guozhen and “Fifteen coins. The rat case” by Lin Hongxi. These porcelain compositions reveal close relations with Chinese national culture and not only reflect various scenes, but are also aimed at expanding the role of porcelain in decorating residential interiors.

Development of Standard Formulations for Porcelain Production from Ohiya Clay

Optimal products design for producing standard ceramic porcelain products from Ohiya clay was determined in this study using desirability function analysis. Results revealed that the alumino-silicate constitutes 91% of the total mineralogical composition of Ohiya clay and 42:32:20 at a firing temperature of 1250/1300 oC; 42:33:17 at a firing temperature of 1300 oC; 41:32:27 at a firing temperature of 1000 oC as the optimal mix of the clay, feldspar and silica for producing standard low/high voltage insulators, tiles and tablewares respectively. The production of the 11 kV electric insulator, 400 × 400 mm tile, serving dish at optimal settings are respectively six hundred and twenty-five naira (₦625), three hundred and twenty-two naira (₦322), three hundred and four seven (₦347) against the market prices of one thousand naira (₦1000), three hundred and fifty naira (₦350), four hundred and twenty naira (₦420) respectively. This translates to 60%, 9% and 21% in profit for these products. Hence, adoption of the optimal mixing ratio as well as exploitation of this natural resource is highly recommended.

TRAINING OF DECORATIVE AND APPLIED ARTS SPECIALISTS IN EDUCATIONAL INSTITUTIONS OF UKRAINE: HISTORICAL ASPECT

The paper examines the historical aspects of the development specialists in decorative and applied arts training in Ukraine on the example of porcelain production (late 18th century - today) and its current state abroad. In line with the issue of introduction of this direction of decorative and applied art in our country, examples of its flourishing in the cities of Koret (production of baroque Meissen porcelain), Baranivka, Hrodnytsia, Dovbysh (Iliinskyi Manufactory, Markhlov Factory, Dovbysh Porcelain Factory, Polonsky Porcelain Factory); Poltava, Boryslav, Sumy, Ternopil (opening of porcelain factories in 1965) are characterized. It has been found that along with the foundation and development of porcelain industries there were professional schools focused on training skilled craftsmen to work in the factory, in particular schools in Kyiv, Lviv, Kharkiv; Myrhorod Art and Industrial School in Poltava region, etc.). Training of specialists in pottery and porcelain, teachers of graphic arts and painting, masters of artistic decoration of products, etc., who were ready to perform significant amounts of physical work, namely making tiles, bulk utensils, decorating the facades of churches, houses, fireplaces, sculptures, ornaments, and exterior, is analyzed. Activities of famous artists such as S. Maslenikov, O. Slastion, V. Krychevsky are described; characteristics of outstanding works and participation in exhibitions are revealed. It is determined that the best traditions of training specialists are preserved in modern Ukraine. But porcelain production has declined and is virtually absent; products made in small businesses are souvenirs, they can not always be conveniently used as utensils. A conclusion has been made on the need to use European manufacturers who have maintained mass porcelain production and train a significant number of skilled workers.