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Dissertations / Theses on the topic 'Chinese Porcelain'

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Published: 4 June 2021

Last updated: 26 July 2025

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1

Huang, Ellen. "China's china Jingdezhen porcelain and the production of art in the Nineteenth Century /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2008. http://wwwlib.umi.com/cr/ucsd/fullcit?p3316155.

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Thesis (Ph. D.)--University of California, San Diego, 2008.<br>Title from first page of PDF file (viewed Sept. 4, 2008). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references (p. 256-271).

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Guan, Shanming. "The imperial procelain wares of the late Qing dynasty /." [Hong Kong] : University of Hong Kong, 1989. http://sunzi.lib.hku.hk/hkuto/record.jsp?B12358381.

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3

Chai, Wanqi M. D. "Porcelain Color Guide and Application Principles." University of Cincinnati / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1337289222.

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4

Guan, Shanming, and 關善明. "The imperial porcelain wares of the late Qing dynasty." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1989. http://hub.hku.hk/bib/B31231561.

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5

Chung, An. "Self & the symbolic environment: The origination of Chinese porcelain." Thesis, Chung, An (1997) Self & the symbolic environment: The origination of Chinese porcelain. PhD thesis, Murdoch University, 1997. https://researchrepository.murdoch.edu.au/id/eprint/50583/.

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My general thesis is that the cultural environment is an influential factor in creativity and discovery. My dissertation focuses on that part of the environment which is the symbolic domain of self. This self is larger than the ego-self, and embraces a relatedness with nature. My creativity framework engages with self, drawing on insights from Jung's notion of a transpersonal self, and Maslow's notion of selfactualisation as a universal tendency. The domain of self is proposed as three interrelating dimensions. The first is the ideational, relating to ideas, beliefs, and values. The second

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Claxton, Juliet. "Tralucent as amber, and subtler then christall : the cultural context of porcelain in early modern England 1588-1700." Thesis, Queen Mary, University of London, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.638048.

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7

楊春棠 and Chun-tong Yeung. "The development of the Jingdezhen kilns in the Yuan dynastyh[electronic resource] =." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1989. http://hub.hku.hk/bib/B3120904X.

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8

Shamy, Tania Solweig. "Frederick the Great's porcelain diversion: the Chinese Tea House at Sanssouci." Thesis, McGill University, 2009. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=66728.

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This thesis signals a new approach in the study of the Chinese Tea House at Sanssouci. It argues that Frederick the Great's exotic pavilion, although made of sandstone and stucco, is porcelain in essence. The garden building reflects the many meanings of this highly valued commodity and art form in the privileged society of the king and his contemporaries. The pavilion is unique in that it was inspired by the type of sculptural ornament designed to decorate the eighteenth- century table of the nobility. The Tea House is a thematically integrated structure that demonstrates th

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Madsen, David andrew. "All Sorts of China Ware Large, Noble and Rich Chinese Bowls: Eighteenth-Century Chinese Export Porcelain in Virginia." W&M ScholarWorks, 1995. https://scholarworks.wm.edu/etd/1539625951.

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Esterhuizen, Laura Valerie. "Dekoratiewe motiewe op Chinese porseleinskerwe uit Portugese skeepswrakke aan die Suid-Afrikaanse kus, 1552-1647 : 'n kultuurhistoriese studie (Afrikaans)." Thesis, University of Pretoria, 2001. http://hdl.handle.net/2263/30473.

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11

Tang, Hui. "'The colours of each piece' : production and consumption of Chinese enamelled porcelain, c.1728-c.1780." Thesis, University of Warwick, 2017. http://wrap.warwick.ac.uk/91791/.

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The innovation of enamels and enamel painting techniques on porcelain during the 1720s marked the establishment of a new type of porcelain product which soon played a significant role in Chinese porcelain consumption, both domestically and globally. Yet, the impact of this innovation on production and consumption has rarely been studied. This thesis addresses this gap by offering a historical perspective on eighteenth century Chinese enamelled porcelain, its production and consumption, both in domestic and export markets. It is demonstrated that both the Qing court and the local manufactures r

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12

Lim, Eunmin. "Re-collections and movements : Murray Marks's translations of Chinese porcelain and Italian Renaissance bronzes, ca. 1860-1918." Thesis, University of York, 2015. http://etheses.whiterose.ac.uk/17780/.

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In his work Truth and Method, Hans-Georg Gadamer suggests rehabilitating the decorative element in art, which was discredited by Kant’s aesthetics in an antithetical relationship to the concept of art based on ‘pure form.’ As decoration is determined by its relation to what it is decorating, it is neither placeless nor timeless. The temporality and place of the work of decorative art question “the aesthetic consciousness according to which the work of art is what is outside all space and all time.” Drawing on Gadamer’s philosophical hermeneutics, this study aims to explore how the London-based

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13

Zheng, Yongsong. "Blanc de Chine (1490-1949) : l'odyssée de la porcelaine de Dehua." Electronic Thesis or Diss., Sorbonne université, 2025. http://www.theses.fr/2025SORUL008.

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Traduite telle quelle en chinois moderne, Zhongguo bai 中國白, l'expression « blanc de Chine » sert aujourd'hui à désigner la porcelaine blanche provenant des fours de Dehua, dans la province côtière du Fujian, où elle est fabriquée depuis la dynastie des Ming (1368-1644). Malgré sa présence marquée dans les collections françaises, la recherche spécifique sur cette porcelaine est très limitée, laissant ouvertes les questions d'identification, de provenance et de datation. Cette thèse vise donc à proposer une nouvelle synthèse sur cette porcelaine, partant de sa réception en Europe, puis de sa dif

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14

Knittler, Konstanze Amelie. "Motivations and patterns of collecting : George Salting, William G. Gulland and William Lever as collectors of Chinese porcelain." Thesis, University of Glasgow, 2011. http://theses.gla.ac.uk/2811/.

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The collecting of Chinese ceramics had become an increasingly popular activity in late 19th-century Britain. Whereas the 18th century was characterised by an interest in porcelain for the purpose of interior design, the political developments between China and Britain enabled a new approach to Chinese cultural identity; different Chinese material became available in the wake of the Second Opium War (1856-1860) and the subsequent sacking of the Imperial Summer Palace of Yuanmingyuan, and this material entered Britain for the first time. Due to the opening of China to foreign merchants, Britons

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15

Davis, Kiersten Claire. "Secondhand Chinoiserie and the Confucian Revolutionary: Colonial America's Decorative Arts "After the Chinese Taste"." BYU ScholarsArchive, 2008. https://scholarsarchive.byu.edu/etd/1465.

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This thesis explores the implications of chinoiserie, or Western creations of Chinese-style decorative arts, upon an eighteenth century colonial American audience. Chinese products such as tea, porcelain, and silk, and goods such as furniture and wallpaper displaying Chinese motifs of distant exotic lands, had become popular commodities in Europe by the eighteenth century. The American colonists, who were primarily culturally British, thus developed a taste for chinoiserie fashions and wares via their European heritage. While most European countries had direct access to the China trade, coloni

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Pinto, Ariane. "Microstructure et procédés techniques des porcelaines qinghua : une approche de type science des matériaux." Thesis, Toulouse 3, 2019. http://www.theses.fr/2019TOU30183.

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La porcelaine à décor bleu et blanc, ou porcelaine qinghua, est l'une des céramiques les plus célèbres au monde. Produite dès le XIIIe siècle dans les fours de Jingdezhen (province du Jiangxi), elle se caractérise par l'usage d'un décor sous glaçure à base de métaux de transition (cobalt principalement mais également fer ou manganèse). Ce type de porcelaine est constitué d'une structure en couche qui se prête particulièrement bien à une décomposition en différents systèmes (glaçure, zone pigmentaire, pâte, interface entre la pâte et la glaçure dans les zones sans décor). Notre thèse a pour obj

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Balard, Nancy. "La destinée de Jingdezhen, capitale de la porcelaine." Phd thesis, Université Paul Valéry - Montpellier III, 2012. http://tel.archives-ouvertes.fr/tel-00805675.

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Jingdezhen, bourg de la province reculée du Jiangxi, a révolutionné l'histoire de la céramique en proposant au monde dès la dynastie des Song une porcelaine par nulle autre égalée. Développant une industrie porcelainière organisée à tous les points de vue, elle en est arrivée à devenir la capitale de la porcelaine. La place qui fut accordée à la porcelaine de Jingdezhen dans les régions importatrices -- Asie, Proche et Moyen-Orient, Afrique orientale, Europe et Amériques --témoigne de l'estime qu'elle gagna. Cet objet, entre art et artisanat, s'immisça dans divers aspects de la vie des populat

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18

Wen, Rui. "The cobalt blue pigment used on Islamic ceramics and chinese blue-and-white porcelains." Thesis, University of Oxford, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.560518.

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Cobalt blue pigment has been used to decorate ceramics as early as the New Kingdom (the 16th century BC - 11 th century BC) in ancient Egypt. The blue decoration ceramics have re-flourished since the Islamic Abbasid dynasty (750 AD-1258 AD). The large quantity Abbasid overglaze painted earthenware used the cobalt blue for decoration. In the same period, the ceramics with cobalt blue painting decoration also appeared in Chinese Tang dynasty (618 AD-907 AD). It is a great innovation in Chinese ceramic history since the aesthetic taste of Chinese ceramics was influenced by jade culture and conseq

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19

Liu, Chiu-Lan. "Les couleurs sur les porcelaines de cour pendant les règnes de Kangxi (1662-1722) et de Qianlong (1736-1795)." Paris 4, 2004. http://www.theses.fr/2004PA040019.

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Au temps de Kangxi et de Qianlong, le contrôle de la culture est un élément important pour asseoir son pouvoir. Les deux empereurs cherchent à montrer que leurs goûts artistiques sont plus raffinés que ceux de leurs prédécesseurs. Ils prêtent une attention particulière à la production des porcelaines impériales et ses couleurs. La première partie de l'étude est consacrée à la composition des porcelaines. En utilisant les données des laboratoires chinois et américains, on a pu constater une évolution des éléments chimiques (SiO2, Al2O3, Fe2O3, CaO, MgO, K2O et TiO2 ) qui permet de saisir les ph

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Guo, Mo. "A China em Portugal : a porcelana Blue Canton da Vista Alegre." Master's thesis, Universidade de Aveiro, 2015. http://hdl.handle.net/10773/14623.

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Mestrado em Línguas, Literaturas e Culturas<br>O presente estudo pretende estudar a divulgação da cultura chinesa em Portugal através da porcelana da Vista Alegre, nomeadamente da coleção Blue Canton. De acordo com o desenvolvimento histórico da porcelana em Portugal, o nosso estudo é constituído por quatro capítulos: Aceitação e Gosto, Encomenda e Personalização, Aprendizagem e Imitação, Inovação e Recriação. Através da observação e análise das peças da coleção Blue Canton, o nosso estudo mostra como a cultura chinesa chegou a Portugal e como afetou este país e a generalidade da Europa

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Chopard, Lucie. "La collection d'Ernest Grandidier au Louvre (1870-1915) : voir, comprendre, donner à voir la porcelaine chinoise." Thesis, Université Paris sciences et lettres, 2021. http://www.theses.fr/2021UPSLP091.

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En 1894, une collection de plus de trois mille pièces, déjà célèbre à Paris, entre au Musée du Louvre : il s'agit de la collection d'Ernest Grandidier (1833-1912). La nature des objets qui la composent — des porcelaines chinoises — et le rôle que le collectionneur entend continuer de jouer auprès de sa collection — il exige d'en devenir le conservateur — la distinguent des autres libéralités qui affluent au musée sous la Troisième République. De l'installation de sa collection à l'entresol de la Grande Galerie en 1895, à sa mort en 1912, Grandidier n'aura de cesse, au musée, d'enrichir ses vit

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Dong, Fanwen. "A influência chinesa no azulejo português." Master's thesis, Universidade de Aveiro, 2017. http://hdl.handle.net/10773/22138.

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Mestrado em Línguas, Literaturas e Culturas<br>O azulejo português é uma arte nacional que mostra um aspeto especial de Portugal. É considerado um importante suporte da expressão artística nacional ao longo de mais de cinco séculos. No entanto, durante o seu desenvolvimento, o azulejo português não só absorveu características portuguesas, como também foi influenciado pela cultura de outros países, nomeadamente a China, que mantém ligação com Portugal há mais de 500 anos. A influência chinesa é óbvia, especialmente na cor. O azul e branco caracteriza um tipo famoso de porcelana chinesa,

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23

Coelho, Inês Alexandra Pinto. "A cerâmica oriental da carreira da Índia no contexto da carga de uma nau - A presumível Nossa Senhora dos Mártires." Master's thesis, Faculdade de Ciências Sociais e Humanas, Universidade Nova de Lisboa, 2008. http://hdl.handle.net/10362/11432.

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Dissertação apresentada para cumprimento dos requisitos necessários à obtenção do grau de Mestre em Arqueologia<br>O presente trabalho tem como objectivo o estudo do núcleo de cerâmicas, exumado ao largo de São Julião da Barra, possivelmente, pertencente aos destroços da nau Nossa Senhora dos Mártires. Efectuámos o estudo e a identificação dos diferentes fragmentos de porcelana chinesa característicos da Dinastia Ming, do reinado Wanli (1573-1619), e de cerâmica oriunda da região Sul da China, datada do período de transição de fins do século XVI e inícios do século XVII, e que seriam par

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Wang, Tian. "A Multi-scale Study of Ancient Ceramics Using a Series of Analytical Techniques." Thesis, Toulouse, INSA, 2016. http://www.theses.fr/2016ISAT0052/document.

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Les artefacts en céramique ont une longue histoire et ont été récupérés dans presque toutes les régions du monde. La conservation n’est que rarement impactée par le milieu d’enfouissement. Donc, ils sont des matériaux idéaux pour comprendre l'histoire et la culture de homme. Les principales études archéologiques sur les céramiques anciennes concernent la provenance (datation, atelier, commerce), les matières premières (identification, origine), le processus de fabrication et l'utilisation (analyse des résidus de contenu). Mon travail porte plus précisément sur le processus de fabrication. Les

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Torres, Joana Bento. "Quotidianos no Convento de São Francisco de Lisboa. Uma análise da cerâmica, faiança portuguesa e porcelana chinesa." Master's thesis, Faculdade de Ciências Sociais e Humanas, Universidade Nova de Lisboa, 2011. http://hdl.handle.net/10362/7125.

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Dissertação apresentada para cumprimento dos requisitos necessários à obtenção do grau de Mestre em Arqueologia<br>Este trabalho tem por objectivo principal a análise do espólio cerâmico (c. 4.753 fragmentos) recolhido em contexto de lixeira, numa das cisternas do antigo convento de S. Francisco de Lisboa, actual Faculdade de Belas Artes de Lisboa, Museu do Chiado e Governo Civil de Lisboa. Neste conjunto de peças encontramos exemplares de cerâmica vidrada, faiança portuguesa e porcelana chinesa, que se integram entre o século XVII e meados do século XVIII. Foi constituído um extenso ca

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Vivien, Béatrice. "Les demeures et collections d'un grand seigneur : René de Longueil, Président de Maisons (1597-1677)." Thesis, Paris 4, 2014. http://www.theses.fr/2014PA040195.

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René de Longueil hérita de façon imprévue et presque simultanée de la seigneurie familiale de Maisons en 1629 et de l’héritage provenant de la famille de sa femme en 1630 qu’il sut par son habileté tourner à son avantage. Il entreprit dès lors la construction d’un château neuf, confié à François Mansart ainsi qu’à l’équipe de Jacques Sarrazin, célébré comme l’une des plus belles demeures de France. Mais il ne vit l’achèvement du projet que dix années avant sa mort, faisant de Maisons un chantier permanent, celui-ci ayant été conduit en plusieurs phases successives. A Paris, il habita rue de Bé

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"克拉克瓷研究". Thesis, 2010. http://library.cuhk.edu.hk/record=b6075275.

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Due to limited sources available, Chinese scholars so far are slightly behind the Western scholars in the study of Chinese export porcelain. It is sincerely hope that the current in-depth analysis of Kraak porcelain will contribute to portray a more comprehensive picture of Chinese export porcelain.<br>Kraak porcelain is a type of Chinese export porcelain with unique features which was produced in the second half of the sixteenth century for European market. It was the earliest type of export porcelain of some scale and had distinct characteristics. In this attempt to understand the rich cultu

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"市場變遷中的瓷器生產: 澳門開埠前期(1553年-1600年)中葡貿易瓷器研究". 2015. http://library.cuhk.edu.hk/record=b6116480.

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本文以早期中葡貿易瓷器為主要研究對象，具體時期為澳門開埠前期，即大約1553年至1600年之間。根據文獻記載，葡萄牙人於1514年首次到達中國，此後由於中葡關係一度交惡，未得官方許可的葡商遊走於中國海域的各個離島，與沿海商人暗中進行走私貿易。直到1553年（葡文獻記載為1557年），葡萄牙人佔據澳門，並逐漸將其發展成為葡萄牙對中及亞洲貿易的主要據點，中葡貿易的規模才迅速增長，並趨穩定，保持了隨後近一個世紀的繁盛。<br>澳門開埠，標誌著中葡貿易進入一個新的階段，這一變化亦清晰地反映在作為商品的瓷器之上，除數量的激增外，為了滿足歐洲市場的需要，一批具有全新風格及功能的外銷瓷器被生產出來，這類瓷器即是本文研究和討論的重點。以往由於實物資料的缺乏，以及對克拉克瓷研究的單一關注，學界對澳門開埠前期貿易瓷器面貌的認識長期不足。因此，本文將集中對此時期的貿易瓷器進行系統的整理和分析。<br>學界通常認為，十六、十七世紀之交流行的克拉克瓷器（Kraak Porcelain），是外銷青花瓷器專為歐洲市場創造的全新風格，然而筆者通過近年來對澳門及葡萄牙本土遺址出土瓷器材料的研究與考察，認為這種風格的創新，在澳門開埠不久（即十六世紀中期）已見端倪。因此，本文將選取葡萄牙內陸科英布拉市一處修道院遺址出土的中國瓷器，作為澳門開埠前期貿易瓷器的代表材料，與此前暢銷於東南亞及中東市場的中國瓷器、中葡貿易離島時

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"Changsha ware in the Art Museum, the Chinese University of Hong Kong: reflections of daily life in the Tang Dynasty." 2005. http://library.cuhk.edu.hk/record=b5892615.

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Leung Yuen-fun Rachel.<br>Thesis submitted in: May 2004.<br>One leaflet mounted.<br>Thesis (M.Phil.)--Chinese University of Hong Kong, 2005.<br>Includes bibliographical references.<br>Abstracts in English and Chinese.<br>Chapter Chapter One: --- Historical Background<br>The discovery of the kiln sites --- p.1<br>The naming of Changsha ware --- p.3<br>The beginning of production --- p.5<br>Chapter Chapter Two: --- Development of Changsha ware<br>Duration of operation --- p.10<br>Stages of development --- p.11<br>Reasons for decline --- p.15<br>Chapter Chapter Three: --- Glaze and Kiln Cha

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Miller, Aaron. "The Far East in the northeast : an analysis of the Chinese export porcelain excavated at Ferryland, Newfoundland /." 2005.

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Burchmore, Alexander. "New Export China: Translations across time and place in contemporary Chinese porcelain art (1996-2016)." Phd thesis, 2019. http://hdl.handle.net/1885/158142.

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Porcelain has long been a global medium, exported from China to markets around the world. Over the past two decades this historical prestige has been enhanced by the work of contemporary Chinese artists for whom china, the material, is emblematic of China, the country, and an ideal means to interrogate such identification. Taking Ah Xian, Sin-ying Ho, Liu Jianhua and Ai Weiwei as case-studies, this dissertation analyses the reasons for their shared decision to use porcelain, proposing an original interpretive paradigm for their work as a form of "New Export China". Works by these artists a

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Priyadarshini, Meha. "From the Chinese Guan to the Mexican Chocolatero: A Tactile History of the Transpacific Trade, 1571-1815." Thesis, 2014. https://doi.org/10.7916/D84J0C7G.

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The dissertation follows the trajectory of one of the commodities of the transpacific trade, Chinese porcelain, from the city of Jingdezhen where it was produced, to Manila where it was sold to Spanish merchants, on to Mexico, where it was adopted by the colonial society. The study ends in the city of Puebla where potters drew inspiration from Chinese porcelain for the invention of a new ceramic style known as loza poblana. The methodology of following the trajectory of Chinese porcelains through various sites reveals a new kind of history, one where the tactile aspects of the circulation of g

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Shao, Leigh-Lin Ning. "Evaluation and critical analysis of the Chinese porcelains in the Whitwell collection Tatham Art Gallery: Pietermaritzburg." Thesis, 2002. http://hdl.handle.net/10413/3734.

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The first chapter is a broad review of the recent history of Chinese porcelain from the Ming period to the present day. It includes remarks on the ceramics town of Jingdezhen and on aspects of materials, construction techniques, glazing and enamelling as well as a brief summary of the types of wares. The second chapter is divided into two parts. The first part introduces the formation of the Tatham Art Gallery and the Whitwell Collection. The second part focuses, firstly, on the blue and white porcelain, secondly, on the enamelled porcelain. The pieces are individually physically examined and

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Ying, Yu, and 余贏. "A study on the white porcelain design of culturally innovative aesthetics – with the ancient Chinese emperor as an example." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/3ytrty.

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碩士<br>國立雲林科技大學<br>工業設計系<br>106<br>With the globalization of world economics, people's lives are constantly improving, and the demand for culture has also grown. As David Throsby point it out "Culture is the potential driving force of today's global economy", which reflects the development trend and trend of the aesthetic economy and experience economy under the knowledge economy in recent years. This shows that cultural design has become a new opportunity for design. Therefore, how to convey the cultural beauty of products through design is a top priority of contemporary design. This study tak

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Lin, Miao-Fen, and 林妙芬. "The Study on the Higher Quality of the Taiwan Traditional Crafts-Take Chinese and Foreign Pottery and Porcelain for Example." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/12271981201419984048.

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碩士<br>東方設計學院<br>文化創意設計研究所<br>99<br>This paper mainly discusses how to make the Taiwan traditional crafts become more international and have higher qualities. The Taiwan traditional crafts have existed for more than a century in our history. Rather than a positive impression, those traditional crafts were regarded as local, regional, rough, and even cheap works for people in the early days. However, things become different nowadays. The modern Taiwan traditional crafts, such as the glass artwork, pottery, and porcelain, have substituted the old ones. Take “tittot” for example. It is the first l

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Kock, Nicolaas J. de, and 毛尼恩. "The Influence of Brand Image and Country of Origin of Luxury Porcelain on the Purchase Decision of Chinese Consumers of Rosenthal Meets Versace." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/60189107606338604427.

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碩士<br>逢甲大學<br>國際經營管理碩士學位學程<br>103<br>This paper investigates influence of the country of origin effect and the brand image of luxury porcelain on Chinese consumers. The Chinese consumer is generally unaware of the country of origin of luxury porcelain and has a low perception of the brand. As a result, the consumer shows little interest in luxury porcelain. Once the country of origin and brand image are effectively communicated to the consumer, significant awareness of the brand image and the country of origin are experienced which influences the Chinese consumer to purchase the desired luxury

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Xu, Haixia. "Porcelana chinesa em Portugal do século XVI até ao século XVIII." Master's thesis, 2018. http://hdl.handle.net/10773/25280.

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A porcelana chinesa, trazida para a Europa pelos portugueses, foi o produto que mais promoveu um estreito relacionamento entre as culturas europeias e a cultura chinesa, do século XVI ao século XVIII. Esse intercâmbio cultural realizou-se em momentos diferentes: compra direta, encomenda, pintura ao gosto europeu, imitação da pintura chinesa e difusão. De facto, a porcelana chinesa promove a comunicação entre a civilização chinesa e a europeia, tornando-se um dos principais produtos da globalização da Época Moderna. A porcelana chinesa teve um grande impacto na vida e cultura europei

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Guo, Mo. "A inspiração chinesa nos temas da faiança portuguesa do século XVII." Doctoral thesis, 2019. http://hdl.handle.net/10773/28093.

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O presente estudo insere-se num campo de estudos interdisciplinar, envolvendo principalmente duas culturas, dois sistemas sociais, dois sistemas filosóficos, duas modalidades artísticas, dois espaços de investigação, e visa responder às seguintes questões: (i) como é que os portugueses compreendiam a cultura chinesa no século XVII e (ii) como é que essa compreensão influenciou a criação artística portuguesa, sobretudo a manufatura da faiança portuguesa naquela época? A partir de um corpus de peças de faiança portuguesa do século XVII com temas de inspiração chinesa existentes em museus púb

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