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Journal articles on the topic 'Chinese Porcelain'

Author: Grafiati

Published: 4 June 2021

Last updated: 26 July 2025

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1

Teece, Denise-Marie. "Monsoon Winds and Ming Porcelains: Chinese Ceramics and Their Reception in Early Modern South Asia." Muqarnas Online 40, no. 1 (2024): 103–53. http://dx.doi.org/10.1163/22118993_0040_006.

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Abstract This essay will explore the arrival, acquisition, and reception of Chinese ceramics within early modern South Asia, with a focus on the Mughal dynasty (r. 1526–1857) courtly context. The first step in placing South Asian ceramic collecting practices within the broader historical and geographic circulation of porcelains in the Gulf and Indian Ocean worlds is understanding the breadth and nature of South Asian collections. While the Safavid porcelain collections donated by Shah Abbas to Ardabil, and the massive Chinese porcelain collection of the Ottoman courts held today in Istanbul’s

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2

Tenorio, Dolores, Melania Jimenez-Reyes, Eladio Terreros-Espinosa, and Socorro DE La Vega Doria. "A Study of Chinese and Japanese Porcelains from Archaeological Sites of Mexico City, Using INAA." Semina: Ciências Exatas e Tecnológicas 45 (August 6, 2024): e50614. http://dx.doi.org/10.5433/1679-0375.2024.v45.50614.

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This study analyzes porcelain fragments unearthed at multiple archaeological sites in Mexico City, formerly known as New Spain. A collection of 60 samples was successfully categorized into four different groups and analyzed based on the Instrumental Neutron Activation Analysis (INAA) in conjunction with statistical methods. One of the groups included blue-and-white porcelains, which conclusively traced back to the renowned Jingdezhen kilns. Another blue-and-white group was attributed to the Zhangzhou kilns. Notably, it was determined that the Chinese white porcelains, distinguished by their lo

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3

Guo, Mo. "Christian Iconography on Ming and Qing Chinese Porcelain: Religious Influence and Artistic Hybridization." Religions 15, no. 4 (2024): 472. http://dx.doi.org/10.3390/rel15040472.

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Since the arrival of Christian missionaries in China through maritime trade networks, missionary activities have been changing from the 16th century to the 18th century. Christian missionaries faced numerous challenges stemming from cultural context and religious policies in China. Throughout history, various religious strategies have been employed to address these challenges. The use of Chinese porcelain to depict Christian imagery holds significant importance. The present study is focused on four representative Chinese porcelains dating from the Ming to Qing dynasties, each associated with s

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Qu, Jia yi, and Seung Woog Kim. "A Study on the Characteristic Elements of Light-transmitting Ceramics : Focusing on Lee In-hwa’s Works." Institute of Art & Design Research 27, no. 2 (2024): 65–76. https://doi.org/10.59386/jadr.2024.27.2.65.

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This study aims to explore the direction of continuous expansion of modern ceramic decoration creation based on the origin of Linglong porcelain works and the development status of decorative techniques, and pays particular attention to the succession and innovation of traditional and modern decorative techniques of Linglong porcelain in China and Japan. To this end, Linglong porcelain works by Chinese yinglong porcelain brands and Japanese yinglong porcelain artists were selected and case studies were conducted, and Linglong porcelain decorative techniques were divided into three categories:

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Li Xinxin, Li, and Iarîna Savițkaia Baraghin. "THE SPREAD AND INFLUENCE OF CHINESE PORCELAIN IN EUROPE DURING THE 17TH-18TH CENTURIES." Review of Artistic Education 30 (May 30, 2025): 288–92. https://doi.org/10.35218/rae-2025-0039.

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Abstract: This article discusses the spread of Chinese porcelain in Europe during the 17th and 18th centuries and its impact on European art, culture, and economy. Fueled by global trade networks, Chinese porcelain entered the European market through the East India Companies, becoming a luxury item for aristocrats and the upper class. As demand for porcelain grew, Europe gradually began to imitate and develop its own porcelain industry, exemplified by Germany's Meissen. Chinese porcelain not only had a profound influence on material culture but also shaped European artistic creation through it

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6

Corbeiller, Clare Le, and Alice Cooney Frelinghuysen. "Chinese Export Porcelain." Metropolitan Museum of Art Bulletin 60, no. 3 (2003): 1. http://dx.doi.org/10.2307/3269266.

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7

Yuenyongwannachot, Supakorn. "Chinese Export Porcelain." ASEAN Journal of Radiology 19, no. 3 (2017): 44–48. http://dx.doi.org/10.46475/aseanjr.v19i3.6.

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8

Yap, C. T., and Younan Hua. "Principal Component Analysis of Chinese Porcelains from the Five Dynasties to the Qing Dynasty." Zeitschrift für Naturforschung A 47, no. 10 (1992): 1029–33. http://dx.doi.org/10.1515/zna-1992-1004.

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AbstractThis is a study of the possibility of identifying antique Chinese porcelains according to the period or dynasty, using major and minor chemical components (SiO2 , Al2O3 , Fe2O3 , K2O, Na2O, CaO and MgO) from the body of the porcelain. Principal component analysis is applied to published data on 66 pieces of Chinese procelains made in Jingdezhen during the Five Dynasties and the Song, Yuan, Ming and Qing Dynasties. It is shown that porcelains made during the Five Dynasties and the Yuan (or Ming) and Qing Dynasties can be segregated completely without any overlap. However, there is appre

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9

Xie, Jixian. "Origin and development of primitive "porcelain" (proto-porcelain) in China." Философия и культура, no. 7 (July 2022): 66–75. http://dx.doi.org/10.7256/2454-0757.2022.7.38429.

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The article discusses the features of the development of Chinese primitive porcelain (proto-porcelain). The purpose of the article is to reveal the periodization of the development of Chinese porcelain in the early stages of its history and the influence of proto-porcelain on the so-called "mature" porcelain of later periods. Primitive porcelain, which is the transitional stage from earthenware to real porcelain, dates back to the era between the Shang Dynasty and the Eastern Han Dynasty. The study was conducted using historical and comparative methods, as well as the method of formal stylisti

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10

Lyakhovich, Ekaterina Viktorovna. "Chinese plants images in the painting of Meissen porcelain products." Культура и искусство, no. 11 (November 2024): 89–108. https://doi.org/10.7256/2454-0625.2024.11.72403.

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The article attempts to consider Chinese plant images in the painting of German porcelain products of the XVIII century as an area of interaction between Chinese and European artistic cultures. The subject of the study is the paintings of works of German and Chinese porcelain, which are considered as a "text" that includes not only plot-formal meanings, but also hidden structural and semantic formations. Using the example of plant images in the painting of Meissen porcelain of the XVIII century, the forms of reading and interpretation of the artistic features of Chinese porcelain by Western Eu

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11

Wang, Yu, and Zhengding Liao. "Porcelain interior plastic of the 1950s in museums and private collections in China." Issues of Museology 12, no. 1 (2021): 58–67. http://dx.doi.org/10.21638/spbu27.2021.106.

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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 p

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12

Li, Yanyu, and Yile Chen. "Analysis of Cultural Perceptions of the Intangible Cultural Heritage of Chinese Porcelain Inlay: An Investigation Based on Social Media Data." Information 16, no. 2 (2025): 124. https://doi.org/10.3390/info16020124.

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Cultural heritage is a precious treasure left to mankind by history. With the development of the times and the improvement of people’s education, more and more people are becoming aware of the importance of protecting cultural heritage. Chinese porcelain inlay is a type of architectural decoration born out of the specific historical, geographical, and cultural conditions of Fujian and Guangdong, and was included in the second batch of The National List of Intangible Cultural Heritage of China published in 2008 and the third batch of The National List of Intangible Cultural Heritage of China—Ex

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13

Yuan, Yangzeshan. "Influences Between Chinese Ming and Qing Dynasty Porcelain and European Rococo Style." SHS Web of Conferences 199 (2024): 04006. http://dx.doi.org/10.1051/shsconf/202419904006.

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The porcelain of the Ming and Qing dynasties had an extensive and profound mutual influence on the European Rococo art style. The content of this research paper includes the origin of the Rococo style and the influence of the Rococo style on Chinese porcelain from the introduction of the Kangxi Dynasty to the prosperous Qianlong period. The Rococo art style extensively utilizes decorative elements and techniques of Chinese porcelain, reflecting the importance of Chinese porcelain influences on the Rococo art style. This study fills the gap in research on the historical process and artistic tec

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A., Ozheredova, and Ozheredov Yu. "Chinese Porcelain in Western Mongolia (the Qing Dinasty)." Teoriya i praktika arkheologicheskikh issledovaniy 34, no. 3 (2022): 165–76. http://dx.doi.org/10.14258/tpai(2022)34(3).-10.

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The paper examines Chinese porcelain collected at the Chinese fortress in the Khovd city, Shar Sum monastery and two archaeological sites in the Barun Khurai Depression in southwest Mongolia. Th e sites were built for Chinese military administration and Mongolian Buddhist clergy during the Qing period. Th e study concludes that the decorative motives of the porcelain refl ect the tastes of the mentioned categories of Mongolian population and is predominantly related to Tibetan Buddhism elements of the Chinese folk culture. Th e discovered material also indicates originally “non-Han” components

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15

Zhushchikhovskaya, Irina S., and Igor Yu Buravlev. "A “Red-and-Green Porcelain” Figurine from a Jin Period Archaeological Site in the Primor’ye Region, Southern Russian Far East." Ceramics 5, no. 4 (2022): 673–89. http://dx.doi.org/10.3390/ceramics5040049.

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This paper considers the results of an examination of a polychrome glazed anthropomorphic ceramic figurine from the Prmor’ye region (southern Russian Far East) discovered at one of the Jin period (1115–1234 CE) archaeological sites. The study attests to the hypothesis about the attribution of this unique art object to the “red-and-green porcelain” produced in Northern China since the mid-Jin period. At present “the red-and-green porcelain” is the object of certain research interest as an important stage of Chinese ceramics history preceding the invention of famous porcelains with overglazed en

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16

Zhang, Xiruo. "Style Exploration of Porcelain During Qianlong Dynasty: Tributed by Superintendents of the Jingdezhen Imperial Kiln." Journal of Education, Humanities and Social Sciences 31 (April 27, 2024): 96–100. http://dx.doi.org/10.54097/j56hcb90.

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During the Qianlong period of the Qing dynasty, successive superintendents of the Imperial kiln organized craftsmen to pay tribute to the Qianlong Emperor on important festivals of the year, such as the Dragon Boat Festival, birthday of the emperor and queen mother, and the New Year's Festival, etc. At different stages of the Qianlong period, the styles of tribute porcelain were not always the same. The formation of the style of official tribute porcelain was attributed to various factors like economics, politics, and culture. Superintendents of the Jingdezhen imperial kiln during the Qianlong

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17

Cieminska, Joanna. "Chinese porcelain 'embrechados' in Portuguese garden architecture." Orientations 54, no. 3 (2022): 142–49. https://doi.org/10.5281/zenodo.7695666.

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Chinese porcelain began to be integrated into the decoration of Italian, Portuguese, and Spanish palace interiors in the 16th century, but the use of porcelain for exterior decoration, such as in garden architecture, cannot be observed in the early modern times outside Portugal. Intact porcelain plates and the cut out wells (bottoms) of plates and bowls would be stuck in the character of medallions on internal and external surfaces of garden pavilions, chapels, and fountains, with tiny pieces of broken borders applied together to fill out cartouches. This technique of applying shells, stones,

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18

Shao, Gang Qin, Xiao Bin Zhong, Yong Zhang, et al. "Mechanism and Technics to Produce Geographical Indication Products of Chinese Blue-and-White Porcelain." Solid State Phenomena 281 (August 2018): 952–58. http://dx.doi.org/10.4028/www.scientific.net/ssp.281.952.

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For over 1400 years, Dapu county, under the jurisdiction of Meizhou city, Guangdong province, one cradleland of the Hakka traditional culture, is renowned for the blue and white porcelain in China. In this work, the mechanism and technics to produce Dapu geographical indication products of blue-and-white porcelains with high quality were studied, based on the distinct characteristics of local resources.

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19

Nilsson Schönborg, Göte. "Kinesiskt porslin, ostindiehandel och arkeologi i Göteborg." In Situ Archaeologica 3 (December 31, 2002): 147–56. http://dx.doi.org/10.58323/insi.v3.13594.

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”Chinese porcelain, oriental trade and archaeology in Gothenburg. Pieces of porcelain tells about 17th and 18th century trade with China”: In this overview the oriental trade between China and Europe and the Swedish trade company SOIC in the seventeenth century is treated. It is also a discussion of urban archaeology in the city of Göteborg and the Chinese porcelain and potsherds from an archaeological point of view.

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20

Yanzhan, Sun. "Symbolism Of The Three Friends Of Winter Plant Motif On The Traditional Chinese White And Blue Qing Hua Ci Porcelain." Scientific and analytical journal Burganov House. The space of culture 20, no. 3 (2024): 30–35. http://dx.doi.org/10.36340/2071-6818-2024-20-3-30-35.

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The Three Friends of Winter are symbolic plants in Chinese culture. With the development of the Three Friends of Winter motif in Chinese painting, similar images began to be created in the decorative patterns of ancient Chinese porcelain. The article explores the symbolism and artistic value of the Three Friends of Winter on the example of the decorative patterns of Chinese porcelain.

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21

Vinokurov, Sergej E. "Chinese porcelain of the late qing period with "pavilion" stamps: Problems of study and attribution of artworks." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 53 (2024): 123–34. http://dx.doi.org/10.17223/22220836/53/10.

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Studies and publications of artworks from museums and private collections, published in recent decades, indicate that porcelain production in China received a new impetus for development in the second half of the 19th century. The article examines artworks with the so-called “pavilion” mark “daya zhai” from a private collection. The author substantiates stylistic transformations and changes in the marking of objects, highlights the problems of attribution research and establishing the authenticity of works of Chinese porcelain of the late imperial period. Late Chinese porcelain with “pavilion”

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22

Yap, C. T. "Chinese Porcelain: Genuine or Fake?" Physics Bulletin 37, no. 5 (1986): 214–15. http://dx.doi.org/10.1088/0031-9112/37/5/025.

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23

Shulsky, Linda R. "Chinese porcelain at old mobile." Historical Archaeology 36, no. 1 (2002): 97–104. http://dx.doi.org/10.1007/bf03374341.

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24

McDowall, Stephen. "Chinese Porcelain in Habsburg Spain." Journal of the History of Collections 31, no. 1 (2018): 202–3. http://dx.doi.org/10.1093/jhc/fhy012.

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25

Ляхович, Е. В. "Compositional Organisation in 17th- and 18th-Century Chinese Porcelain Paintings: Specifics and Principles." Terra artis. Art and Design, no. 2 (July 1, 2023): 37–51. http://dx.doi.org/10.53273/27128768_2023_2_37.

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Росписи китайского фарфора в своей организации берут начало в композиционных принципах национальной живописи гохуа, имеющих древнюю историю и установленную систему, связаны с тенденциями и веяниями, характерными для живописного искусства той или иной исторической эпохи, и в то же время проявляют зависимость от моделей и форм собственно изделий из фарфора. Не только ориентация росписей на живописное искусство, но в первую очередь особенности материала и технологической специфики производства регламентируют процесс создания росписей фарфоровых предметов и оказывают определенное влияние на композ

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Li, Jie, and Thitisak Wechkama. "Cultural Art Literacy through Peony Porcelain in Educational Applications." International Journal of Education and Literacy Studies 12, no. 4 (2024): 269–75. https://doi.org/10.7575/aiac.ijels.v.12n.4p.269.

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This study explores the integration of Peony Porcelain, a traditional Chinese art form renowned for its intricate craftsmanship and cultural significance, into educational applications to enhance cultural art literacy. The primary objective is to investigate the cultural art literacy of Peony Porcelain in educational applications. The research was conducted in Luoyang City, the center of Peony Porcelain production, using qualitative methods, including field surveys, interviews, and observations. A total of 39 informants participated in the study, comprising porcelain artisans, key informants,

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27

Li, Jiaxuan. "Sino-European Porcelain Trade: Globalization and Orientalism Perspectives." Lecture Notes in Education Psychology and Public Media 58, no. 1 (2024): 148–53. http://dx.doi.org/10.54254/2753-7048/58/20241719.

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Chinese export porcelain serves as a critical cultural and economic bridge between the East and the West, making it a fascinating subject of study. This study examines the historical interactions between East and West through the trade of Chinese export porcelain, highlighting a shift from an Orientalist perspective to a more interconnected and equitable global view. The research explores the cultural significance and economic impact of Chinese export porcelain, analyzing its role as a medium of cross-cultural exchange. Utilizing historical data, scholarly articles, and contemporary theories,

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Kruglova, Maria S. "Trash-art in China and Korea: Struggle for the Cultural Heritage — the Case of Porcelain." Oriental Courier, no. 4 (2022): 117. http://dx.doi.org/10.18254/s268684310023833-4.

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The article discusses examples of trash art created by contemporary Chinese and Korean artists. In view of the environmental and social agenda, contemporary artists often use materials once used for completely different purposes. Chinese and Korean artists are no exception here. The author considers examples of the broken porcelain used to create new art objects created in China and Korea. Beijing-based artist Li Xiaofeng creates wearable dresses from broken porcelain from the Song, Ming, and Qing dynasties, and works with new broken porcelain to create designs with fashion houses such as Laco

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Ke, Jin, and Chen Yanli. "A study on the transformation of imagery and the history of exports of Chinese Guangcai porcelain during the Qing Dynasty." OOO "Zhurnal "Voprosy Istorii" 2023, no. 11-1 (2023): 204–11. http://dx.doi.org/10.31166/voprosyistorii202310statyi63.

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Guangcai porcelain with its distinct export patterns is an important component of porcelain trade between China and the West. Studying the history of transformation within images used for decorating Qing Guangcai, the authors consider the historical model of visual imagery that fuses Chinese and Western culture, research the history of transformation of porcelain exports and the changes in Guangcai decoration, thus connecting porcelain aesthetics, its cultural and artistic value, and the history of foreign trade.

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Ping, TANG. "The “China House” Metaphors in Ben Jonson’s Comedy Epicene, or The Silent Woman." Asia-Pacific Journal of Humanities and Social Sciences 2, no. 4 (2022): 107–15. http://dx.doi.org/10.53789/j.1653-0465.2022.0204.014.p.

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In the late 16th and early 17th centuries, Britain’s strong desire for luxury goods such as Chinese porcelain triggered an active participation in the early global trade. Ben Jonson was one of the English Renaissance playwrights who highly mentioned China and Chinese porcelain in his works. In his London comedy Epicene, or The Silent Woman, the “China House” where Chinese porcelain is displayed and sold, has taken on multiple metaphorical connotations, and become essential to understand the urban life of London in the Jacobean era. With a focus on “China House” as three metaphors, such as the

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LIU, YUAN, Tajul Shuhaizam Bin Said, and Harozila Ramli. "Exploring Chinese Flower-And-Bird Painting's Impact On Porcelain Design: Aesthetic Philosophy And Creative Evolution Review." International Journal of Applied and Creative Arts 8, no. 1 (2025): 164–75. https://doi.org/10.33736/ijaca.8809.2025.

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This comprehensive review explores the synergy between the aesthetic philosophy and creative inspirations found in Chinese Flower-and-Bird Painting, examining its role as a pivotal subject matter in shaping the artistic evolution of Porcelain Surface Design. Grounded in the profound cultural appreciation for the natural world, artists employing this medium become conduits for conveying their innermost thoughts, encapsulating the essence of the Chinese aesthetic value philosophy. Identifying a critical gap in understanding, the study introduces a novel variable emphasizing the creative inspirat

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Ding, Shiqi, Linjie Tong, and Jiawei Wu. "A Comparative Study on the Patterns of Dragon Pattern Porcelain in the Qianlong and Guangxu Periods of the Qing Dynasty." Journal of Education, Humanities and Social Sciences 5 (November 23, 2022): 132–39. http://dx.doi.org/10.54097/ehss.v5i.2893.

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Dragon pattern is an important historical culture in Chinese arts and crafts, and it is also one of the decorative patterns with the most cultural connotation in porcelain. Exploring the ancient Chinese dragon pattern can promote the research of Chinese art history and enhance the utilization of ancient art value. This paper takes the blue and white dragon pattern plate of Qianlong period and the blue and white Shuanglong playing pearl plate on Guangxu period as the representative of dragon pattern porcelain of the two periods to compare and analyze the historical background, line characterist

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Mao, Joyce. "Porcelain and Steel." Pacific Historical Review 94, no. 3 (2025): 233–66. https://doi.org/10.1525/phr.2025.94.3.233.

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This article examines the moment when American anticipations about Chinese economic growth turned decisively toward anxiety at a pivotal stage of the Cold War. It argues that perceptions of the People’s Republic of China’s (PRC’s) development initiatives, specifically the Great Leap Forward of 1958–1961, shaped the calculus of U.S. foreign policy strategy for the Pacific, and that orientalism was an integral component of the regional economic model championed by leading officials. Merging established racial and cultural tropes with anti-communist development theory, aka modernization, policyma

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Liu, Haiying, Leyi Jiang, Meilu Pan, and Huan Xie. "A Brief Analysis of the Genealogy of the Patterns of Women and Infants on the Export Porcelain from Jingdezhen in the Ming and Qing Dynasties." Highlights in Art and Design 9, no. 3 (2025): 8–12. https://doi.org/10.54097/4rh4nt97.

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The content of export porcelain in the Qing Dynasty is rich and diverse, and the pattern of women and infants is one of them. The pattern of women and infants integrates Chinese and Western cultures and is decorated with various elements. The design of the content is derived from traditional stories or paintings. It not only pays attention to the composition method but also has an aesthetic color combination. It not only preserves traditional culture but also makes changes to cater to the market, becoming a significant part of the export porcelain trade. The patterns of women and infants on th

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Temmy, Temmy. "A Brief Analysis of The Influence of Chinese Culture Ceramic on Rococo Art of The West." Humaniora 5, no. 1 (2014): 281. http://dx.doi.org/10.21512/humaniora.v5i1.3022.

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Chinese culture elements accepted for the first time by the Western countries was ceramic and silk. China's silk was found in ancient Greece during the Roman era and since then China has become the “Country of Silk”. Chinese ceramics came to the West a bit later. It was during the Song Dynasty that Western countries started accepting Chinese ceramics, and soon after that Chinese Ceramics had became a new surprise to the Western Countries and had China known as the “Country of Porcelain”. Porcelain as a cultural element is considered not only as material but also as a spirit. When the Europeans

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Wen-Chin, Hsu. "Social and economic factors in the Chinese porcelain industry in Jingdezhen during the late Ming and early Qing period, Ca. 1620–1683." Journal of the Royal Asiatic Society of Great Britain & Ireland 120, no. 1 (1988): 135–59. http://dx.doi.org/10.1017/s0035869x00164196.

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In the study of Chinese ceramics, the XVIIth century is a period of particular interest, when many changes took place which affected porcelain production in Jingdezhen, the porcelain centre in China. These were fluctuations in economic activity, social upheaval, political turmoil and foreign penetration in trade. However, very few records, dated material or archaeological finds of this period exist which can provide us with a better understanding. This problem is particularly acute from the late Wanli period (1573–1620) to the reinstatement of imperial supervision in Jingdezhen around 1683, th

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Voss, Barbara L. "THE ARCHAEOLOGY OF SERIOUS GAMES: PLAY AND PRAGMATISM IN VICTORIAN-ERA DINING." American Antiquity 84, no. 1 (2018): 26–47. http://dx.doi.org/10.1017/aaq.2018.72.

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This study expands on Ortner's practice-based theory of “serious games” by interpreting artifacts through a continuum of intention: pragmatism and play. Decisions and actions are defined as pragmatic according to their desired outcome, while play, in contrast, is an attitude or disposition toward the action itself. Both pragmatism and play are examined in this study of dining-related material culture (ceramic tablewares) from a nineteenth-century Chinatown. The research reveals that Chinatown residents varied considerably in their approach to dining, some using the full complement of British-

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Wu, Xueyuan. "‘Hidden’ Maritime Communication–Custom-made Porcelain from Portugal and Early Ming Dynasty Trade along the Southeast Coast." Advances in Education, Humanities and Social Science Research 13, no. 1 (2025): 339. https://doi.org/10.56028/aehssr.13.1.339.2025.

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The opening of new trade routes at the end of the 15th century and the beginning of the 16th century enabled Portugal to become the first Western country to establish contact with and engage in trade with the southeastern coast of China. Prior to its designation as an official trading port during the early Ming dynasty (1514–1552), Macau was primarily engaged in the trade of porcelain through ports such as Guangzhou and Malacca. Portugal, a principal European market for Chinese porcelain, fulfilled two distinct roles. Firstly, it was a consumer of Chinese porcelain. Secondly, it served as a tr

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Shi, Xiaotao, Yougen Yu, Qian Sun, Weiya Zhu, Cheng Peng, and Jianqing Wu. "Mechanisms of pattern and colour generation of Chinese Tianmu glaze." RSC Advances 9, no. 71 (2019): 41927–33. http://dx.doi.org/10.1039/c9ra06870h.

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Ding, Nianliang. "On the Influence of Islamic Culture on Chinese Porcelain in the Ming Dynasty." Frontiers in Humanities and Social Sciences 4, no. 12 (2024): 64–67. https://doi.org/10.54691/kx7he335.

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The Ming Dynasty saw Chinese porcelain profoundly influenced by Islamic culture, particularly in motifs, forms and colors. Imperial kilns at Jingdezhen incorporated Islamic-inspired designs, such as geometric patterns and Persian or Arabic inscriptions, to cater to both domestic and Islamic needs, reflecting the vigorous Sino-Islamic cultural exchange in this period. Folk kilns, initially focused on practicality of wares, adopted Islamic styles gradually as trade flourished. This cross-cultural exchange enriched Chinese ceramics, blending traditions and fostering innovation that underscored th

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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

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Wen, Rui, Yun Zhang, Dong Wang та Lihua Wang. "The compositional characterization and painting technique of Chinese red and white porcelain by EDXRF and SR-μXRF mapping analysis". Analytical Methods 9, № 30 (2017): 4380–86. http://dx.doi.org/10.1039/c7ay00860k.

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Medley, Margaret. "The Ming - Qing Transition in chinese Porcelain." Arts asiatiques 42, no. 1 (1987): 65–76. http://dx.doi.org/10.3406/arasi.1987.1217.

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WU, Juan. "Chinese Jingdezhen blue and white imperial porcelain." Science in China Series E 47, no. 3 (2004): 366. http://dx.doi.org/10.1360/03ye0488.

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Lin, E. K., Y. C. Yu, C. W. Wang, et al. "PIXE analysis of ancient Chinese Changsha porcelain." Nuclear Instruments and Methods in Physics Research Section B: Beam Interactions with Materials and Atoms 150, no. 1-4 (1999): 581–85. http://dx.doi.org/10.1016/s0168-583x(98)01060-x.

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IMPEY, O. "LEVER AS A COLLECTOR OF CHINESE PORCELAIN." Journal of the History of Collections 4, no. 2 (1992): 227–38. http://dx.doi.org/10.1093/jhc/4.2.227.

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Shyu, M. James, and Margaret Chen Lee. "Non-Contact Color Analysis and Digital Archive Method for Blue-and-White Porcelain by Using Spectral Imaging Technology." International Journal of Humanities and Arts Computing 7, supplement (2013): 189–200. http://dx.doi.org/10.3366/ijhac.2013.0069.

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The unique colour representation of Oriental art work distinguishes itself from what has been seen in Western art work. Not only the traditional Oriental watercolour paintings but also the ancient Chinese porcelains show a great deal of interesting colours that have been archived by digital camera in digital archive practice. However, the majority of the current digital cameras operate with RGB filters, which record every pixel in a tri-chromatic manner. There are several limitations for such a tri-chromatic camera. One is that it describes the colour of the object only by three primary colour

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Новікова Ольга. "ЦІНСЬКИЙ ФАРФОР ІЗ НАДПОЛИВ'ЯНИМ РОЗПИСОМ ЕМАЛЕВИМИ ФАРБАМИ (FAMILLE ROSE) З КОЛЕКЦІЇ НАЦІОНАЛЬНОГО МУЗЕЮ МИСТЕЦТВ ІМЕНІ БОГДАНА І ВАРВАРИ ХАНЕНКІВ". World Science 2, № 1(41) (2019): 33–39. http://dx.doi.org/10.31435/rsglobal_ws/31012019/6304.

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   The article deals with the works of polychrome painted Chinese porcelain created in the Qing era from the Bohdan and Varvara Khanenko Museum of Arts. Each product is analyzed in terms of its color, decoration and image scenes. Attention of the author is focused on symbolic images, among which are anthropomorphic, zoomorphic and vegetative motifs, end variations of the so-called Chinese still life.As a result of the study, three items of Chinese polychrome porcelain with super-polished painted enamel paints were analyzed. The disclosure of semantic content, symbols and sema

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Xie, Hui. "Research on Guangcai Porcelain under the Fusion of Eastern and Western Art Contexts." Humanities and Social Science Research 8, no. 2 (2025): p68. https://doi.org/10.30560/hssr.v8n2p68.

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Guangcai porcelain was born during the Kangxi period of the Qing Dynasty, and its historical trajectory as an outstanding representative of Chinese export porcelain is closely intertwined with the expansion of globalized trade networks. In the 18th century, the “China Fever” in Europe gave rise to a fervent demand for Oriental porcelain, and Guangcai porcelain became an important carrier of material and cultural exchanges between the East and the West by virtue of the geographical advantage of the Guangzhou port. Its uniqueness lies in the fact that it not only retains the oriental heritage of

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Clark, Leah R. "The peregrinations of porcelain." Journal of the History of Collections 32, no. 2 (2019): 275–88. http://dx.doi.org/10.1093/jhc/fhy063.

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Abstract The Medici of Florence have long been acknowledged as possessing the largest collection of Chinese porcelain in the fifteenth century, but this article reveals that in fact Eleonora d’Aragona, Duchess of Ferrara had the largest such collection in Italy at this time. In fifteenth-century Europe, porcelain came not directly from China but rather through trade and diplomacy with foreign courts, so that its peregrinations gave rise to entangled histories and reception. Taking porcelain as a case-study, it is argued here that examining collecting through the lens of trade and diplomacy pro

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