Relevant bibliographies by topics / Celadon ware

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Celadon ware'

Author: Grafiati
Published: 4 June 2021
Last updated: 29 July 2024

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Journal articles on the topic "Celadon ware"

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Redlak, Małgorzata. "Egyptian imitations of Chinese celadon from the 13th–15th centuries from Kom el-Dikka in Alexandria." Polish Archaeology in the Mediterranean 26, no. 1 (2018): 59–84. http://dx.doi.org/10.5604/01.3001.0012.1769.

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In Islamic Egyptian glazed ceramics there are three ceramic types inspired by Chinese pottery, stoneware and porcelain: sancai pottery, celadon stoneware and Blue and White porcelain. Egyptian imitations of Chinese celadon ware, produced in the 14th and 15th centuries mainly by Cairene potters working at the Fustat workshops, are particularly noteworthy and the Kom el-Dikka site in Alexandria, excavated by the Polish Centre of Mediterranean Archaeology University of Warsaw, has yielded a collection of over 300 pieces. The typological analysis was based on 235 distinct fragments of utilitarian wares selected on account of their form, decorative elements, technical quality, possible technological defects and, first and foremost, characteristics that qualify them as imitations of Chinese celadon. Two typological ware groups were distinguished: those inspired by Chinese prototypes and those representing indigenous Egyptian ceramics infused with certain motifs copied from the Chinese celadons.
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Kim, Yunjeong. "The Introduction of North China’s Ceramic Culture to 15th Century Joseon and the Influence on Buncheong Ware." Korean Journal of Art History 312 (December 31, 2021): 5–33. http://dx.doi.org/10.31065/kjah.312.202112.001.

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This paper is a study on Korean Buncheong ware in relation to the ceramic culture of North China. The focus on drawing connections between the ceramic industries of Korea and North China expands on views presented in previous scholarship. Research thus far has traditionally ascribed the origin of Buncheong forms and decoration techniques to the influences of inlaid celadon from the late Goryeo Dynasty and the Cizhou ware of the Yuan and Ming Dynasties. The ceramic culture of North China was quickly transmitted to Korea due to the naturalization of the Jurchen people, who took part in founding the early Joseon Dynasty. Another factor was the migration and settlement of immigrants from North China, which began from the late Goryeo Dynasty and continued into the Joseon Dynasty or the fifteenth century. Therefore, the influence of North China is evident in various aspects of Buncheong ware from the early fifteenth century as observed in the forms of inlaid examples produced during this period. In the latter half of the fifteenth century, increased cultural exchange between the two regions and the growing number of migrants from North China were two important factors in the development of Buncheong in Korea. This is particularly true for examples featuring underglaze iron-brown (cheolhwa), sgraffito (bakji), slip-brushed (gwiyal), and slip-coated (deombeong) decorations fired in kilns populating the region of Chungcheong-do and parts of Jeolla-do. Traces of ‘Bunjang (粉粧)’ ceramics, which served as the transition from celadon to White Porcelain, is detected not only in the fifteenth century Buncheong ware of Joseon, but also in the porcelain of North China produced in the late Yuan and early Ming Dynasties. Though South China also experienced a quick transition from celadon to White Porcelain, the inclusion of ‘Bunjang’ ceramics is unique to North China. In conclusion, early Joseon Buncheong originated and developed from the inlaid celadon of late Goryeo–a progression that occurred under the ceramic culture of North China, whose influences prompted innovations in form and technique vital to the development of Buncheong ware.
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Choi, Hyejoo. "The Making and Production Circumstances of Child Design Goryeo Celadon." Korean Journal of Art History 315 (September 30, 2022): 5–38. http://dx.doi.org/10.31065/kjah.315.202209.001.

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This paper aims to reveal how and when child design celadon was produced in Goryeo and the circumstances under which the designs were created. As child design celadon vessels are discovered in kiln sites in Gangjin and Buan or at palace sites or tombs of royal family where they were used, it is likely that they were made for the ruling class. The design first appeared on celadon ware in the 12<sup>th</sup> century and was mainly produced and consumed in the 13<sup>th</sup> century. Its appearance decreased after the early 14th century as influences of the Yuan culture changed the culture of Goryeo. Child designs on Goryeo celadon could be categorized into two major types: type A, which combines child design with plant scroll motifs and type B, where child designs are drawn in picture-like detail. The type A is similar to Ding ware from Song and Jin dynasties, and the type B to paintings of Song dynasty. The influences to the child design were analyzed by examining images that had been popular in China, tracing how they were introduced to Goryeo, and studying related historical documents. Child designs on Goryeo celadon are the outcome of active cultural exchanges with surrounding countries and art works that traveled between them. It serves as an example that demonstrates how an image was introduced and accepted in medieval East Asian international relations.
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Szalai, Emese. "Keleti import áru a török kori Gyuláról." Kaposvári Rippl-Rónai Múzeum Közleményei, no. 2 (2013): 159–72. http://dx.doi.org/10.26080/krrmkozl.2013.2.159.

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The aim of this paper is to present the most valuable ceramic pieces from the excavations of Gyula Castle (1956-61), led by Nándor Parádi. it contains the examination of 17 pieces in all, from the groups of iznik ware, Chinese celadon, porcelain ware and the so-called „Persian” fayance from the 16th–17th centuries.
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Kwon, hyeokjoo. "The Operation and Characteristics of Goryeo Early Celadon Kiln Sites: Focusing on Brick Kiln Celadon Sites." Bukak History Academy 17 (January 30, 2023): 5–40. http://dx.doi.org/10.37288/bukak.2023.17.1.5.

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“Goryeo celadon kiln site” refers to the remains of sites where various types of celadon, including the bowl with a halo-shaped foot, were produced during the early stages of celadon production in Korea.
 From the 1960s to the 1980s, the Gangjin Yongun-ri No. 9 and 10, Gochang Yonggye-ri, and Yongin Seo-ri sites were excavated, and research was conducted on the date of appearance and comparisons with Yue ware in China, as well as the evolution of the celadon bowl with a halo-shaped foot. After the 1990s, when the early celadon brick kilns in Wonsan-ri, Baecheon, and Bangsan-dong, Siheung, were investigated, more detailed research on the kiln’s structure and excavated objects has been conducted. Since the 2010s, early celadon kiln sites such as have been rediscovered or newly investigated. Specifically, in Yonggye-ri, Gochang, and Seo-ri, Yongin, new materials such as kilns and sedimentary layers, as well as other related facilities such as surrounding building sites have been uncovered, shedding light on the operation and characteristics of early celadon.
 The celadon kilns of the early Goryeo period were located in mountainous regions, and the range of the kiln site was confined to the local region. The kiln site is typically surrounded by large or small mountains and is located at the bottom of a mountain slope. On the flat surface area beneath the kiln site, facilities such as workshops and construction sites were located.
 This article examines the current state of excavation research to determine the locations of the celadon sites during the early Goryeo period as well as the systems of operation of the kilns and disposal sites. The celadon kilns of the early Goryeo period were located in mountainous regions, and the range of the kiln site was confined to the local region. The kiln site is typically surrounded by large or small mountains and is located at the bottom of a mountain slope. On the flat surface area beneath the kiln site, facilities such as workshops and construction sites were located.
 Early Goryeo celadon kiln sites were dispersed over an area between 2,000 and 5,000㎡ containing the kilnand disposal area. The kilns were renovated and repaired multiple times, the combustion chambers were relocated, portions of the previous kilns were demolished, and new kilns were constructed on a saggar sedimentary layer above the previous kiln. Even though the area was surrounded by the same terrain for several kilometers, kilns and disposal sites operated within a restricted area. This system of operation of kilns and disposal sites is distinct from that of mid-century Goryeo celadon sites.
 The operations of the early Goryeo celadon sites are believed to be very closely related to the tiled building sites created in the flat part of the kiln and the disposal site. Only a few specific sites, including the early celadon brick kiln site and the mid-century Goryeo celadon sites in Gangjin and Buan. However, based on the “Taepyeong Imsul” tiles excavated in Yonggye-ri, Gochang, it is assumed that this tile-roofed building site was a monitoring facility of the kiln site able to quickly reflect the decisions of the Goryeo court.
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Yunjeong Kim. "The Significance and Influence of Song・Jin Dynasty Ding Ware(定窯) on 12th Century Goryeo Celadon". Journal of Korean Field Archaeology ll, № 29 (2017): 39–70. http://dx.doi.org/10.35347/jkfa.2017..29.39.

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이희관. "Several issues related to the Goryeo celadons with the Yue ware(越窯) -type design of two butterflies or two phoenixes : The new aspects of the early Goryeo celadon from the perspective of Yue Ware". Journal of Korean Field Archaeology ll, № 28 (2017): 37–67. http://dx.doi.org/10.35347/jkfa.2017..28.37.

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Hsieh, Ming-Liang. "On ceramic Dao Guan Hu (Bottom-filled Ewer)." Korean Journal of Art History 310 (June 30, 2021): 77–99. http://dx.doi.org/10.31065/kjah.310.202106.003.

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The so-called Dao Guan Hu (bottom-filled ewer), also referred to as Dao Liu Hu (reverse-flow ewer), and Dao Zhu Hu (reverse-filled ewer), is a type of pouring vessel designed with Stevin’s Law, a formula in physics which employs a communicating tube to balance out the equilibrium of the liquid levels via a vacuum lock. The structure has a small hole at the bottom of a ewer, a jar, or a trompe-l'œil figure connected to a hollow tube inside the vessel. The liquid will not leak out when turning the vessel upright after it is filled. The current evidence attests that China started producing such wares in the ninth century during the late Tang dynasty. The production continued throughout the Song, Liao, Jin, Ming, and Qing dynasties, and the products were traded to Europe as export ceramics in the seventeenth century. They were also found on the Korean peninsula as Goryeo celadon in the twelfth century and in addition as Buncheong ware during the Joseon dynasty in the fifteenth century. The blue and white teapots with overglaze decoration retrieved from a shipwreck assemblage near Hội An in Vietnam also testify the production of this type of vessels with the same structure in Vietnam in the fifteenth and early sixteenth centuries. In the early eighteenth century, the Meissen porcelain manufactory in Germany copied peach-shaped white porcelain pots with overglaze polychrome enamels from imported Chinese bottom-filled prototypes. Dutch potters also decorated imported white porcelain Dao Guan Hu from China with overglaze polychrome enamels.
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Cho, Yongsun. "Archaeological Analysis of the Pit Dwellings of Joseon Period in the Anseong City, Gyeonggi Province: Based on Hwanggol Site of Majeong-ri, Anseong." Hoseo Archaeological Society 53 (October 31, 2022): 58–84. http://dx.doi.org/10.34268/hskk.2022.53.58.

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This paper is an analytical research of semi-subterranean houses in the Joseon period, focusing on the temporal changes in the structure and artifacts. Total 29 dwellings of the Joseon period were unearthed at Hwanggol site of Majeong-ri in Anseong. The floor plans of the houses were rectangular, square, circular, oval, unclear, and 呂-shaped. Along with pits and postholes, there were fireplaces and floor heating systems as internal facilities of the houses. Total 13 fireplaces were classified into A type and B type according to the structure. Type A, being built with protruding the house wall in a reversed U-shape, was larger than type B being built on the house wall. Considering its quite small size and absence of cooking-related facilities and tools, the fireplace seemed to have performed function of lighting or heating rather than that of cooking. The structure of only 3 was recognizable out of the 6 floor heating systems uncovered at Hangul site. The floor heating systems were reported from only unclear and 呂- shaped floor plan houses. The space of the 呂-shaped floor plan house was separated by heating facility centering on the fireplace. In the flue system consisting of a fireplace, a flue system part, and a smoke control part, a line of flue system was connected to the smoke control part by turning in a circular or square way along the house wall. The floor heating system of unclear floor plan house at the west slope of the site consisted of a fireplace and a flue system part, and the 3 lines of flue system extended to the direction of the contour.
 Classification of these houses based on heating and cooking facilities yielded 3 main types and 4 subtypes as following: TypeⅠ with no facilities, TypeⅡ only with a fireplace, TypeⅢ only with a floor heating system; TypeⅡ was again subdivided intoTypeⅡ-1 and Ⅱ-2 to the projection of smoke control part or not; TypeⅢ was also subdivided into TypeⅢ-1 and Ⅲ-2 to the structure of floor heating system.
 Consideration on uncovered artifacts helped to divided houses into two groups. While one group of houses yielded buncheong ware (a grayish-blue-powdered celadon), bamboo - joint foots, and white porcelains with clay support , the other group yielded white porcelains with sand support without buncheong ware. Buncheong ware was popular from the late 15C to 16C, bamboo-joint foot and white porcelain with clay support were popular from the early 15C to the late 16C. Considering the emergence of the sand support technique in the 17C, the date of houses was divided into before and after the 17C. Hwanggol site of Majeong-ri in Anseong, yielding archaeological features including pit houses, sites of buildings, firing features, and drainage facilities can be understood as residential sites occupied from the 15C to 17C and after.
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Horlyck, Charlotte. "Desirable commodities – unearthing and collecting Koryŏ celadon ceramics in the late nineteenth and early twentieth centuries." Bulletin of the School of Oriental and African Studies 76, no. 3 (2013): 467–91. http://dx.doi.org/10.1017/s0041977x13000906.

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AbstractIn Korea green-glazed celadon ceramics were manufactured during the Koryŏ kingdom (ad 918–1392), but by the end of the fourteenth century their manufacture ceased and they virtually disappeared from view until the 1880s when they began to be unearthed from tombs and other sites. This led to increased interest in them from Koreans, and especially the Japanese, Americans and Europeans. Focusing on British collections, this article outlines the collecting practices of Korean celadon wares from the time of their discovery in the 1880s to the market boom of the 1910s, culminating in the decrease in their availability in the 1930s. It will be argued that the desire for celadon wares was socially conditioned and that celadon were collected for a range of different, though not unrelated reasons, ranging from collectors' pursuit of unique Korean artworks, to their want of genuine antiquities and aesthetic perfection.
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Dissertations / Theses on the topic "Celadon ware"

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Aleman, Marilyn K. "Korean celadon pottery : "first under heaven"." Virtual Press, 2006. http://liblink.bsu.edu/uhtbin/catkey/1345332.

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The primary objective of this creative project is the exploration of Korean celadon pottery. This unassuming style of pottery has been highly revered in Asian cultures and has been called the "first under heaven" by the Chinese scholar Hsu Ching (Covall 46). But for Westerners, little is known. This makes the unique features of Korean celadon pottery a subject worthy of study, particularly the celadon vessels of the Koryo Dynasty.For this research, I first studied the Goryeo or Koryo Dynasty (918-1392 A.D.) during which time Korean celadon was revealed, developed to its zenith and declined. Secondly, I concentrated on the clay body, the style and shape, and the glaze and decorating techniques used in celadon vessels of the Koryo Dynasty.As a result of this study I have used the knowledge gained to 1). develop a body of pottery work which will incorporate Korean type clay, celadon glaze and the decorating techniques of incising, relief, impressed designs, inlay and carving or open work. 2). I have produced a disciplined-based art education curriculum which can be used in teaching advanced ceramics (10th-12th grades) high school level.<br>Department of Art
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Kline, Scott B. "Anselm Kiefer: Remembering, Repeating, and Working through the Past." Kent State University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=kent1374927331.

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Marty, Philippe. "". . . Ware wohl entstanden ein zwist. . . " "une discorde menacait d'eclater. . . " le poeme et ses traductions : concurrents ? equivalents ? ressemblants ? semblables ? une etude a partir de poemes de goethe, holderlin, rilke, celan, blake, dickinson, mallarme, rimbaud, horace." Montpellier 3, 1996. http://www.theses.fr/1996MON30004.

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Holderlin, rilke, celan, blake, dickinson, yeats, mallarme, rimbaud, horace. . . La poesie est impossible. Cette impossibilite serait liee a la constitution du poeme qui se presente comme un tout unique, indestructible et clos. Mais si le poeme etait - en meme temps qu'un objet acheve - une forme ouverte decoulant d'une source, d'un dehors ; s'il etait deduction et non plus seulement performance ? en nous appuyant sur les notions de totalite et d'infini telles que les definit emmanuel levinas, sur l'experience de l'epiphanie du visage telle qu'il la decrit, nous envisageons comme oeuvres "ouvertes-fermees" des poemes de holderlin, paul celan, horace, blake, emily dickinson, mallarme. Si le poeme est accueil et responsabilite, et non pas seulement bloc infrangible, alors la traduction n'est ni plus ni moins impossible que la poesie elle-meme, elle est "la poesie, recommencee", comme dit yves bonnefoy. Mais chercher a donner dans la langue d'arrivee un equivalent de l'original (comme le fait jean prevost traduisant goethe), c'est engager une competition mauvaise qui peut conduire a ce que ph. Jaccottet appelle "le desespoir du traducteur". Nous placons a cote de celle d'equivalence les notions d'imperfection et de faille ; si l'original est traduit dans sa "depossession" - a la lettre, mais quelquefois aussi outre la lettre-, alors le poeme en langue etrangere et le poeme-traduction pourront etre semblables davantage que ressemblants. C'est ce que nous essaierons de montrer a partir de deux hymnes de holderlin (patmos et andenken) et de leurs traductions francaises. Transgressant par fidelite, les traductions instaurent la communaute des<br>Poemes. Translating poetry is impossible. This impossibility has to do with the structure of the poem which appears as an unique, indestructible and hermetic whole. But what if the poem where - as well as a finished object - an open form that comes from an external "source" ? what if the poem were not only a "performance" but a "de-duction" ? basing our study upon the notions of totality and infinite and of the "epiphany of the face" as described by e. Levinas, we consider as "open-closed" works poems by holderlin, celan, horace, blake, dickinson, mallarme. If the poem is receptiveness and responsability, and not only an unbreakable block, then translation is neither more or less impossible than poetry itself, it is "poetry, attempted again", as y. Bonnefoy says. But trying to give an equivalent of the original in the target-language, is involving oneself in a negative form of competition that can lead to what ph. Jaccottet calls "the translator's despair". We set next to the notion of equivalence that of imperfection and failure ; if the original is translated in its "incapacity" - then the poem written in a foreign language an the poem-translation can be of the same "nature" rather than similar in form. That is what we are trying to show through the analysis of two hymns by holderlin and their french translations. Transgressing out of fidelity, translations establish the community of poems
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Yang, Shao-Han, and 楊邵涵. "A Comparative Study of Qingliangsi Ru-ware and Celadon of Zhanggongxiang Yao." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/00224603157106427648.

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碩士<br>國立臺灣師範大學<br>藝術研究所<br>100<br>Ru ware is one of the five famous wares in the Song Dynasty, whose artistic value lies in its elegant shapes, slight sky blue glazes and high quality. In 1987, the site of Ru kiln was found in Qingliangsi Village, Baofeng County, Henan Province. And the central porcelain making workshop area was also found in 2000. According to the report of the Henan Institute of Cultural Relics and Archaeology, these new types of Ru products were different to collections in museums, such as shapes, glazes and decoration. Besides, in 2000, a new kiln was found in Zhanggongxiang, Ru Zhou City, Henan Province. The excavation of Zhanggongxiang Yao reveals that the major manufacturing date of the kiln is from late Northern Song through the Jin dynasty. These high-quilty samples of Zhanggongxiang Yao are similar to Ru ware, such as shapes and firing techniques. For this reason, the comparative study of Qingliangsi Ru ware and Zhanggongxiang Yao is important. The main topic of this study is the comparison between Qingliangsi Ru ware and celadon of Zhanggongxiang Yao. By building the database of the Qingliangsi Ru ware, celadon of Zhanggongxiang Yao and collections in museums, to find the similarity and difference among them, such as the color of the clay, glaze, decoration, shape, firing techniques and so on. In addition, the researcher used the Handheld Digital Microscope (Dino-Lite) to take the microstructure of samples from the Chang Foundation, in order to observe the details. Hopefully, it would be very helpful to understand more about the Ru ware of Song Dynasty through the analysis of the database.
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"龍泉窯宗教龕像研究". 2012. http://library.cuhk.edu.hk/record=b5549020.

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本文的研究對象是南宋（1127-1279）至明代（1368-1644）龍泉窯宗教塑像。這裡所指的宗教塑像，是指佛教、道教和民間宗教的人物塑像。本文旨在探討宗教塑像的生產和使用情況，並特別探討當中龕像的年代和所表現的信仰。<br>本文的第一部分探討塑像的生產和使用情況。通過廣泛蒐集、對比和分析考古及傳世塑像，文章總結出龍泉窯在南宋起開始燒造宗教塑像，元代（1271-1368）時擴大規模，明中期以後停產。雖然宗教塑像並非龍泉窯的大宗產品，可是它們製作講究，經製模、模印、塑貼、雕刻、局部施釉和鬆漆多項工序，足見塑像並不因產量相對較少而顯得不重要，相反它們應是一種受到重視的產品。塑像的使用地點廣泛，除民間之外，明代宮廷也有使用。部分塑像更遠銷海外。<br>文章的第二部分集中探討龍泉窯宗教塑像中龕像的年代和所表現的信仰。鑒於收集所得的二十六尊龕像只有兩尊帶有年款，其餘龕像的年代並不明確，故此第二章首先判斷龕像的年代。通過與發掘所得的塑像及紀年龕像進行對比，文章論證這些龕像均約為明代早期的產品。此外，結合文獻和圖像，文章闡明上述龕像乃分別與道教九天應元雷聲普化天尊、佛教觀音以及觀音與道教真武組合信仰有關。<br>This thesis studies religious sculptures made at the kilns in Longquan during Southern Song(1127-1279) and Ming dynasty(1368-1644). More specifically it examines sculptures from Buddhism, Daoism and popular religion. This thesis aims at investigating the production and the consumption of these sculptures, as well as elucidating religious beliefs they represent.<br>The first part of the thesis examines the production and the consumption of religious sculptures. Through delving into and analyzing a comprehensive collection of the excavated and extant sculptures, the thesis concludes that production of these religious sculptures first began in the Southern Song dynasty, with production scale largely increased in Yuan dynasty (1271-1368), and eventually halted in the late Ming. Albeit those religious sculptures comprise a small portion of Longquan wares, the detailed perfection in each and every step of production as demonstrated in their delicacy and exquisiteness render them significances. Furthermore, it is revealed that religious sculptures were widely used not only amongst commoners but also in the royal family of the Ming dynasty and overseas.<br>The second part of the thesis examines religious beliefs that 26 extant niche sculptures represent. By comparing the dated sculptures, it is justified to conclude that the religious sculptures were all produced around the early Ming dynasty. Through an integrated analysis of literatures and images, the present thesis shows that the sculptures denote different religious beliefs, namely, the belief of Heavenly Worthy of Universal Transformation of the Sound of the Thunder of Responding Origin in the Nine Heavens, Avalokiteśvara of the South Sea, as well as the association of Avalokiteśvara and the Dark Warrior.<br>Detailed summary in vernacular field only.<br>Detailed summary in vernacular field only.<br>Detailed summary in vernacular field only.<br>黃煒均.<br>"2012年9月".<br>"2012 nian 9 yue".<br>Thesis (M.Phil.)--Chinese University of Hong Kong, 2012.<br>Includes bibliographical references (leaves 74-94).<br>Abstract in Chinese and English.<br>Huang Weijun.<br>內容摘要 --- p.i<br>謝辭 --- p.iv<br>前言 --- p.1<br>Chapter 一、 --- 研究回顧、 方法與目的 --- p.1<br>Chapter 二、 --- 論文結構 --- p.3<br>Chapter 第一章 --- 宗教塑像的生產與使用情況 --- p.5<br>Chapter 一、 --- 考古及傳世塑像的整理 --- p.5<br>Chapter 二、 --- 生產與使用情況的總結 --- p.12<br>Chapter 第二章 --- 傳世龕像的年代 --- p.15<br>Chapter 一、 --- 神龕造型的分類與辨識 --- p.15<br>Chapter 二、 --- 龕像年代的斷定 --- p.17<br>Chapter 第三章 --- 九天應元雷聲普化天尊龕像 --- p.24<br>Chapter 一、 --- 洪武龕神祗身份的辨識 --- p.24<br>Chapter 二、 --- 永樂龕神祗身份的辨識 --- p.32<br>Chapter 三、 --- 神祗形象、 組合與神龕造型所表現的信仰 --- p.38<br>Chapter 四、 --- 銘文與供奉的目的 --- p.44<br>Chapter 第四章 --- 觀音龕像 --- p.49<br>Chapter 一、 --- 觀音龕像神祗身份的辨識 --- p.49<br>Chapter 二、 --- 神祗組合與神龕造型所表現的信仰 --- p.55<br>Chapter 二、 --- 觀音與真武合龕神祗身份的辨識 --- p.58<br>Chapter 四、 --- 神祗組合與神龕造型所表現的信仰 --- p.59<br>總結 --- p.72<br>參考書目 --- p.74<br>圖版 --- p.95
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Chiu, Hui-Yu, and 邱惠玉. "The Ru Ware beauty research of Celadon art– take “Hsiao Fang Pottery” as an example." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/89276077192731419366.

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碩士<br>華梵大學<br>工業設計學系碩士班<br>99<br>Celadon was created in early Chinese ceramics. Due to the glaze of Celadon is deep, implicit and has the texture of “Jade”, it is quickly captured the hearts of the Han nationality. In recent years, many of the pottery workers still continued to create new Celadon, even with the combination of different media to show a modern style. At the first, we will explore the appearance and development of celadon history in order to realize that course of the glaze, then, we are classify into the four points of raw material, visual preferences, the likes to jade and the culture of drink tea in order to refine on why Celadon could have long-stay. Ru Ware is the top of Celadon, therefore, to analyze encaustic, raw material, glaze, history about Ru Ware to explain how it can get Chinese royal preference. In Taiwan, the development of ceramic is not short, from classical pottery to modern pottery; the ceramic technology of Taiwan does not lose the other countries. Therefore, by the development history of Hsiao Fang Pottery to tell the era of Taiwan ceramics, and to understand the current status of kiln celadon technology in Taiwan. Compare the classical celadon of Hsiao Fang Pottery with the post-modern celadon of Zhang Ge-Ming, in order to convey inclusion and diverseness of celadon glaze. In the same kind of glaze, it can have different formation and texture because of the creative mind and emotional expression of the pottery workers.
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Yu, Chung-tsu, and 俞仲慈. "A Study of the Relationship between the Trade Ceramics of Sung and Yuan Dynasty Excavated from Penghu and the Ones from Kyusyu: To Take the Celadons and the Black Wares of Fuch'ien for Example." Thesis, 1997. http://ndltd.ncl.edu.tw/handle/21834529315345835218.

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Yu, Zhong-Ci, and 俞仲慈. "A Study of the Relationship between the Trade Ceramics of Sung and Yuan Dynasty Excavated from Penghu and the Ones from Kyusyu: To Take the Celadons and the Black Wares of Fuch'ien for Example." Thesis, 1997. http://ndltd.ncl.edu.tw/handle/68210520770187911751.

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Books on the topic "Celadon ware"

1

Ōsaka Shiritsu Tōyō Tōji Bijutsukan., ed. Yōshūyō no seiji =: Celadon of Yaozhou ware. Ōsaka Shiritsu Tōyō Tōji Bijutsukan, 1991.

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Ōsaka Shiritsu Tōyō Tōji Bijutsukan. Tō kara Hokusō e: Celadon of Yue ware. Ōsaka Shiritsu Tōyō Tōji Bijutsukan, 1994.

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Stacey, Pierson, ed. Qingbai ware: Chinese porcelain of the Song and Yuan dynasties. Percival David Foundation of Chinese Art, 2002.

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Tokiwayama Bunko Chūgoku Tōji Kenkyūkai. 米色青磁. Tokiwayama Bunko, 2008.

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Wei, Jiangang. Yue yao zhi ci shi. Zhongguo she hui ke xue chu ban she, 2015.

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(Professor), Lü Hong, and Chen Zuohan 1907-1952, eds. Gu Longquan qing ci wen hua tan jiu: Yi Minguo shen shi Chen Zuohan shou gao wei li. Zhongguo shu dian, 2012.

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author, Kang Kyŏng-in, and Han'guk Kongye Tijain Munhwa Chinhŭngwŏn, eds. Cheongja: Korean traditional celadon. Korea Craft & Design Foundation, 2017.

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Museum, Fung Ping Shan, and Zhejiang Sheng bo wu guan., eds. Zhejiang qing ci =: Green wares from Zhejiang. Xianggang da xue Feng Pingshan bo wu guan, 1993.

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Ōsaka Shiritsu Tōyō Tōji Bijutsukan. Sōdai no sei-hakuji: Qingbai wares of Song dynasty. Ōsaka Shiritsu Tōyō Tōji Bijutsukan, 1994.

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Priestley & Ferraro Chinese Art. Longquan celadon: Southern Song and early Ming. Priestley & Ferraro Chinese Art, 2006.

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Book chapters on the topic "Celadon ware"

1

Olschner, Leonard M. "Celan lesen, Celan denken." In Paul Celan – »sah daß ein Blatt fiel und wußte, daß es eine Botschaft warß. Frank & Timme GmbH, 2022. http://dx.doi.org/10.57088/978-3-7329-9070-2_2.

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Fuller, David. "Hearing the Form: Breath and the Structures of Poetry in Charles Olson and Paul Celan." In The Life of Breath in Literature, Culture and Medicine. Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-74443-4_20.

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AbstractThis essay examines the ways in which the American poet Charles Olson, and the German-speaking Romanian Jewish poet Paul Celan, each in relation to specific post-war cultural circumstances, experimented with new ways of structuring poetry in relation to the breath: Olson in response to new global scientific, political, and intellectual currents; Celan in response to the Holocaust. The essay discusses not only how the poets wrote but also how they realised the printed forms of their poetry in performance, contrasting Olson’s literal performance of his theories with the different relation of print to performance of his contemporary and associate William Carlos Williams. It argues that Olson’s experiments, polemically formulated in his manifesto Projective Verse, while they have influenced central currents of American poetry since the 1950s, have remained largely American, whereas Celan’s, tentatively intimated in his anti-manifesto Der Meridian, and inimitably personal in their specific forms, can also be seen as modelling ways in which a wide range of twentieth- and twenty-first-century poetry can be realised in reading aloud.
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Wiedemann, Barbara. "„von dieser / Zeit“. Claire Golls Plagiatvorwürfe gegen Paul Celan und ihr politischer Kontext." In Paul Celan – »sah daß ein Blatt fiel und wußte, daß es eine Botschaft warß. Frank & Timme GmbH, 2022. http://dx.doi.org/10.57088/978-3-7329-9070-2_4.

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Hainz, Martin A. "Geister-/Geisteswissenschaft. Paul Celan und Yoko Tawada, mit ein paar Bemerkungen zum Hermes H. C. Artmann." In Paul Celan – »sah daß ein Blatt fiel und wußte, daß es eine Botschaft warß. Frank & Timme GmbH, 2022. http://dx.doi.org/10.57088/978-3-7329-9070-2_6.

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Hainz, Martin A. "Nix Styx. Vorwort." In Paul Celan – »sah daß ein Blatt fiel und wußte, daß es eine Botschaft warß. Frank & Timme GmbH, 2022. http://dx.doi.org/10.57088/978-3-7329-9070-2_1.

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Boelderl, Artur R. "„Alles ist mehr, als es ist“ – Prothesen zu einer Begegnung von Musil ‚und‘ Celan In Aegypten." In Paul Celan – »sah daß ein Blatt fiel und wußte, daß es eine Botschaft warß. Frank & Timme GmbH, 2022. http://dx.doi.org/10.57088/978-3-7329-9070-2_8.

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Corbea-Hoisie, Andrei. "Um Celans „rumänische Büffel“." In Paul Celan – »sah daß ein Blatt fiel und wußte, daß es eine Botschaft warß. Frank & Timme GmbH, 2022. http://dx.doi.org/10.57088/978-3-7329-9070-2_3.

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Morris, Leslie. "Deutsch-jüdische lengevitch." In Paul Celan – »sah daß ein Blatt fiel und wußte, daß es eine Botschaft warß. Frank & Timme GmbH, 2022. http://dx.doi.org/10.57088/978-3-7329-9070-2_7.

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Liska, Vivian. "Paul Celans haderndes Judentum." In Paul Celan – »sah daß ein Blatt fiel und wußte, daß es eine Botschaft warß. Frank & Timme GmbH, 2022. http://dx.doi.org/10.57088/978-3-7329-9070-2_5.

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"Celadon Ware." In Encyclopedic Dictionary of Archaeology. Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-58292-0_30272.

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Conference papers on the topic "Celadon ware"

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"An Aesthetic Study of Ancient Chinese Celadon Ware Culture." In 2018 4th International Conference on Social Sciences, Modern Management and Economics. Clausius Scientific Press, 2018. http://dx.doi.org/10.23977/ssmme.2018.62207.

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