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Journal articles on the topic 'Porcelain, European'
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1
Marchand, Suzanne. "Porcelain: another window on the neoclassical visual world." Classical Receptions Journal 12, no. 2 (December 16, 2019): 200–230. http://dx.doi.org/10.1093/crj/clz026.
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Abstract This article surveys the European, and especially German, porcelain industry’s output of classicizing figurines between about 1740 and 1900 in order to comprehend what vision of the classics Europeans wished to bring into their homes. First made by Italians, classicizing figurines and cameos became a German (and English) specialty, and helped to knit together European luxury markets as well as to spread familiarity with classical iconography to northern and eastern climes. Made for aristocratic courtiers, the first pieces reflect a ‘libertine’ classicism; by about 1790, this style had largely been displaced by a more serious and exacting (but also cheaper!) ‘chaste’ classicism exemplified by Jasperware and white biscuit porcelains. After 1815, industry conditions and the disinterest of new consumers led to the freezing of classicizing porcelains in this latter, ‘chaste’ idiom. As a widely-owned household good by the mid-nineteenth century, porcelain provided an important, if narrow, form of classical education that has left its mark on the tourist industry, and on our perceptions of the classical world.
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Aker Ensari, Senem. "EUROPEAN TRADITION PORCELAIN DOLL." Idil Journal of Art and Language 5, no. 27 (November 30, 2016): 2015–26. http://dx.doi.org/10.7816/idil-05-27-11.
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Karyakina, Tatyana Dmitrievna. "Portrait in Western European porcelain of the XVIII century." Исторический журнал: научные исследования, no. 5 (May 2021): 9–20. http://dx.doi.org/10.7256/2454-0609.2021.5.36215.
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This article is dedicated to portrait images in Western European porcelain of the XVIII century. Research is conducted on the works created in various European countries, such as Germany (Meissen), France (Sevres), Austria (Vienna), and England (Wedgwood Pottery Manufactory). Prominent masters of porcelain –Kendler, Boizot, Grassi – are the authors of the portraits. Sculptural portrait images of August III – painter of the court of the French Queen Marie Antoinette and the Holy Roman Emperor Joseph II are notable for exquisite artistic merit. The article reviews porcelain sculpture, as well as oil painted portraits. Interpretation of the images manifests the features of three styles characteristic to art of the XVIII century: Baroque, Rococo and Classicism. Portrait images reflect the themes typical to the Age of Enlightenment. The article describes the peculiarities of the creations of artists who worked in various European porcelain manufactories. Research methodology is based on the detailed stylistic analysis of the works of Baroque, Rococo and Classicism; fundamental examination of the works in historical sequence for determining the evolutionary changes; comparative analysis for revealing national and authorial specificities. The novelty is defined by the fact that this article is first to comprehensively analyze the portrait images in porcelain of such countries as Germany, France, and Austria of the XVIII century, as well as in identification of the features characteristic to different artists.
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van der Pijl-Ketel, Christine. "BOEKBESPREKING: EUROPEAN DECORATION ON ORIENTAL PORCELAIN." Aziatische Kunst 36, no. 4 (July 5, 2006): 39–41. http://dx.doi.org/10.1163/25431749-90000092.
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Il Choi, Kee. "‘Partly Copies from European Prints’." Rijksmuseum Bulletin 66, no. 2 (June 15, 2018): 120–43. http://dx.doi.org/10.52476/trb.9751.
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This paper introduces the way Johannes Kip’s A Prospect of Westminster & A Prospect of the City of London (c. 1720) furnished the design for a handscroll of the River Thames enamelled on the rim of a renowned armorial porcelain service made around 1730-40. Having thus situated an important exemplar of northern European landscape art in China by 1750, it further suggests that Kip’s topographic print may well have played an influential, not to say seminal role in the conceptualization of monumental, panoramic handscrolls of the foreign factories from which ultimately the iconic landscape genre emerged. Descriptive of the site of both commerce and aesthetic exchange, these export paintings have exercised a lasting hold on the historical imagination. In as much as export porcelain signified the China trade for Westerners, export paintings came to represent Canton, if not the whole of China for a global audience.
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Karyakina, Tatyana Dmitrievna. "The Allegorical and Symbolic Meaning in West European Porcelain Craft of the 18th Century." Исторический журнал: научные исследования, no. 2 (February 2020): 30–37. http://dx.doi.org/10.7256/2454-0609.2020.2.32607.
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The article takes a look at the works of various porcelain manufactories: Italian Docchia, German Meissen and Nymphenburg, Viennese and French Sèvres. These works are subject to allegorical interpretation and symbolic meaning. This content feature is one of the characteristic features of Baroque and Rococo art. The author pays particular attention to the identification of allegorical attributes and specific elements of form and decor that carry symbolic meaning. Porcelain artifacts, the authors of which are prominent European masters (Soldani, Kändler, Eberlein, Bustelli, Niedermeier and Fournier), are examined in detail. These kinds of decorative and applied arts reflected the unique worldview of a person living in the 18th century - the period of Enlightenment. The following methods of art history laid the foundation for this study: the formal-stylistic and iconological analyses of porcelain artifacts, which enabled the author to identify the semantic content of examined images. The scientific novelty of this article lies in the fact that for the first time in Russian art studies, a comprehensive study of the works of 18th-century porcelain crafts from different countries was carried out in order to identify their symbolic meanings. A detailed study of these works gives the author reason to conclude that bestowing artifacts with symbolic content is characteristic of Baroque and Rococo art, and that these works reflected one of the features of the figurative art system of the 18th century.
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Zavyalova, Anna E. "Konstantin Somov’s Painting “Non-Existent Porcelain”: Its Conception and Sources." Observatory of Culture 17, no. 4 (September 8, 2020): 394–402. http://dx.doi.org/10.25281/2072-3156-2020-17-4-394-402.
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The article discusses the history and existence of Konstantin Somov’s painting “Non-Existent Porcelain”: The relevance of the topic is determined by the fact that the “Non-Existent Porcelain” for the first time becomes an object of study as a painting and a collectible. The scientific novelty of the article lies in the fact that it attempts to identify the artistic sources of this work (Titian, engravings from his painting “Venus with a Mirror”) and examines the attitude of K.A. Somov to this master artist. The author uses the method of complex analysis, combining a source analysis of K.A. Somov’s diaries and letters, and a traditional formal analysis of his painting “Non-Existent Porcelain” in comparison with the painting of Titian and engravings from it. The article traces the painting’s creation, identifies the sources from the creative heritage of the artist and European art. There are analyzed the artistic features of the painting, the period when it was in V.N. Gordin’s ownership and in the collection of E.A. Gunst. This study allows to expand the existing ideas about the artist’s visual sources of creativity.The article reveals that Titian’s painting “Venus with a Mirror” served as a source of the figure of a naked bather in the painting “Non-Existent Porcelain”. A hypothesis has also been put forward on the artist’s likely appeal to contre-épreuve reproductions of European masters of the 18th — 19th centuries from this painting, primarily the engravings of Johann Friedrich Leybold. The author concludes that K.A. Somov’s working over the painting “Non-Existent Porcelain” was in line with his working with a variety of sources from the heritage of European art, including his search for sources for depiction of nudity.
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Gal, Susan. "Qualia as Value and Knowledge: Histories of European Porcelain." Signs and Society 5, S1 (January 2017): S128—S153. http://dx.doi.org/10.1086/690108.
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Saláta, József. "A fogászati kerámiaanyagok fejlődésének történeti áttekintése." Kaleidoscope history 11, no. 22 (2021): 284–93. http://dx.doi.org/10.17107/kh.2021.22.284-293.
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Initially, ceramics - mostly burnt clay - were used to manufacture container pottery. The first porcelain objects reached Europe out of China in the Medieval Ages. The technique of their manufacturing was a mystery for many hundred years, yet Germans succeeded first to produce fine European porcelain at the beginning of the 18th century. Its elegance and hardness woke the dentists’ interest too thus Frenchmen created the first porcelain dentures in the second half of the 18th century. Since then, there has been an increasing demand for esthetic fixed implant dentures instead of removable ones. The development of ceramic materials resulted in better mechanical and optical properties, thus the first fixed porcelain inlays and jacket crowns were introduced already in 1889. The addition of leucite filler crystals to porcelain in the 20th century increased the thermal expansion of the ceramic. It could be fired on common dental casting alloys, so the first porcelain-fused-to-metal (PFM) crown was created in 1962. Several new techniques were developed from the middle of the 1980s to the end of the 1990s to deal with initial shrinkage and achieve better properties. Beyond casting, pressing, and CAD/CAM technology, additive manufacturing opened new perspectives in dentistry several years ago in processing dental ceramics.
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Maistruk, N., and L. Kravchenko. "TRAINING OF DECORATIVE AND APPLIED ARTS SPECIALISTS IN EDUCATIONAL INSTITUTIONS OF UKRAINE: HISTORICAL ASPECT." Ukrainian professional education, no. 8 (November 25, 2020): 121–27. http://dx.doi.org/10.33989/2519-8254.2020.8.239466.
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The paper examines the historical aspects of the development specialists in decorative and applied arts training in Ukraine on the example of porcelain production (late 18th century - today) and its current state abroad. In line with the issue of introduction of this direction of decorative and applied art in our country, examples of its flourishing in the cities of Koret (production of baroque Meissen porcelain), Baranivka, Hrodnytsia, Dovbysh (Iliinskyi Manufactory, Markhlov Factory, Dovbysh Porcelain Factory, Polonsky Porcelain Factory); Poltava, Boryslav, Sumy, Ternopil (opening of porcelain factories in 1965) are characterized. It has been found that along with the foundation and development of porcelain industries there were professional schools focused on training skilled craftsmen to work in the factory, in particular schools in Kyiv, Lviv, Kharkiv; Myrhorod Art and Industrial School in Poltava region, etc.). Training of specialists in pottery and porcelain, teachers of graphic arts and painting, masters of artistic decoration of products, etc., who were ready to perform significant amounts of physical work, namely making tiles, bulk utensils, decorating the facades of churches, houses, fireplaces, sculptures, ornaments, and exterior, is analyzed. Activities of famous artists such as S. Maslenikov, O. Slastion, V. Krychevsky are described; characteristics of outstanding works and participation in exhibitions are revealed.
It is determined that the best traditions of training specialists are preserved in modern Ukraine. But porcelain production has declined and is virtually absent; products made in small businesses are souvenirs, they can not always be conveniently used as utensils. A conclusion has been made on the need to use European manufacturers who have maintained mass porcelain production and train a significant number of skilled workers.
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Tsoumas, Johannis. "WHITE GOLD’ IN EARLY TO MID-EIGHTEENTH CENTURY VENICE AND FLORENCE: THE FIRST ITALIAN PORCELAIN FACTORIES AND THEIR HIGHLY COVETED PRODUCTION." ARTis ON, no. 1 (December 12, 2015): 6–16. http://dx.doi.org/10.37935/aion.v0i1.12.
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An inaccessible material both in terms of technology and manufacture for the aristocratic classes and the royal courts of Europe and especially for the prominent politically, socially and culturally Italy, porcelain was until the beginning of the eighteenth century an ‘impossible dream’ which only through a limited number of Chinese wares could be satisfied. However in the early highly decorative and playful Rococo period, its discovery in Germany inaugurated a new era in the European decorative arts. Hard-paste porcelain was soon introduced in Northern Italy and started being produced in the cities of Venice and Florence respectively creating a new order in the great historical field of ceramic arts. This initiated a long and, at the same time, glorious era for porcelain objects production throughout the country, many of which are now rare examples of a valuable heritage in the history of decorative arts worldwide. This paper aims to document clearly and methodically the historical value of these events, focusing on the two first Italian hard-paste porcelain factories development and stressing the significance of their rare products.
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Simsek Franci, Gulsu, and Philippe Colomban. "On-Site Identification of Pottery with pXRF: An Example of European and Chinese Red Stonewares." Heritage 5, no. 1 (December 29, 2021): 88–102. http://dx.doi.org/10.3390/heritage5010005.
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The invention of European hard porcelain, which aims at imitating kaolin-containing white paste of Chinese porcelain, had been started by the development of the technology of “red porcelain”, so-called “Jaspisporzellan” by Johann Friedrich Böttger in the early-eighteenth century at Meissen (Saxony). The visual features of the earlier Böttger red stoneware were rather similar to the one produced in Yixing, China. The prominence of Böttger productions allowed the manufacturing to be expanded across Europe to different countries (Holland, England, France, etc.). In this study, the chemical characteristics of nine European unglazed objects produced in England, France, Russia, and Holland from the 17th to 19th century and 10 Chinese (unglazed or enameled) red stoneware have been studied by using an on-site characterization technique pXRF. The results were compared with the previous studies carried out on 25 unglazed, polished, and non-polished Böttger artefacts. This non-invasive, speedy technique allows a methodology to be created for distinguishing the technological differences related to the provenance and authenticity of the artefacts. The elemental measurements explicitly show the significant discrepancy of Dutch objects from the main group, which involves other European and Chinese ones. Both a Lambertus van Eenhoorn (Delft) statue and an Ary de Milde (Delft) teapot are distinguishable from other European red stoneware by the high content of iron and calcium and high content of titanium and potassium, respectively, found in their body compositions. An overall comparison was made between the measurements made at different times in order to evaluate the error range arising from the measurement procedure (e.g., energy resolution of other series of the same instrument model).
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SHEETS, R. "Release of heavy metals from European and Asian porcelain dinnerware." Science of The Total Environment 212, no. 2-3 (April 8, 1998): 107–13. http://dx.doi.org/10.1016/s0048-9697(97)00315-x.
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Colomban, Philippe, Anh-Tu Ngo, and Nicolas Fournery. "Non-Invasive Raman Analysis of 18th Century Chinese Export/Armorial Overglazed Porcelain: Identification of the Different Enameling Techniques." Heritage 5, no. 1 (January 23, 2022): 233–59. http://dx.doi.org/10.3390/heritage5010013.
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Six rare porcelains of the Qing Dynasty, in particular, dishes ordered respectively for Philibert Orry, the Duke of Penthièvre and a tureen from the service of Louis XV, with royal coat-of-arms, were analyzed non-invasively by Raman microspectrometry. A coffee pot with a rare decoration attributed to Cornelius Pronk was also analyzed as well as two plates, one decorated with an Imari-style pattern and the second post-decorated in the Low-Countries/Holland. The enamel types and coloring or opacifying agents were identified on the basis of combined Raman and SEM-EDXS analysis previously published as well as new section and surface analysis of five plate samples representative of different technologies (blue-and-white, Famille rose). The use of lead oxide for the preparation of overglaze is demonstrated. For the first time, the use of borax in the blue overglaze according to the recipe from the 1753 manuscripts of French chemist Jean Hellot is demonstrated on Chinese porcelain. This fact, like the use of cobalt free of manganese, demonstrates the use of European ingredients and/or recipes for ceramics exported from China to Europe. The highlighting of the use of different recipes or raw materials for porcelain from the same period can therefore be the signature of different workshops. For instance, three different Raman signatures of red decoration were identified from the hematite vibration modes: very narrow modes for Pronk’ coffee pot and Louis XV tureen, broad for Orry’ dish and intermediate for the others. Three workshops are thus expected. It is interesting to note that the use of arsenic for the realization of white enamels corresponds to the latest objects, made after 1738. China was therefore in the 18th century both an importer of European know-how, design and an exporter of enameled products made with imported technologies to Europe.
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Colomban, Philippe. "Full Spectral Range Raman Signatures Related to Changes in Enameling Technologies from the 18th to the 20th Century: Guidelines, Effectiveness and Limitations of the Raman Analysis." Materials 15, no. 9 (April 27, 2022): 3158. http://dx.doi.org/10.3390/ma15093158.
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This study investigates the comparison of the Raman signatures of different phases used in underglaze, inglaze and overglaze decors of selected European, Chinese and Japanese porcelains and enameled metalworks, which are particularly representative of technological developments in enameling. Specifically, the article deals with the main structural types or host networks (corundum/hematite, spinels, zircon, cassiterite, pyrochlore, apatite, sphene, etc.) used for colored enamels on porcelain, earthenware or metal rather than considering all types of pigments and opacifiers. According to the results, Raman microspectroscopy allows identifying of the fingerprint spectra of milestone technologies and represents a simple and rapid tool for detecting copies. Particular attention is paid to the information deduced from the examination of the associated ‘background’ and signatures from electronic transitions induced by uncontrolled traces or voluntary addition of rare earths (luminescence). The relationship between the grinding procedure and Raman signature is also discussed.
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Martin, Matthew. "Porcelain and Catholic Enlightenment: The Zwettler Tafelaufsatz." Eighteenth-Century Life 45, no. 3 (September 1, 2021): 116–34. http://dx.doi.org/10.1215/00982601-9273020.
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The mastery of a hard-paste porcelain technology in Dresden in 1708 was a major natural philosophical achievement for the European Enlightenment. From the outset, the material possessed a representative function at the Saxon court, where it served to promote the power and cultural prestige of the Wettin dynasty. As porcelain factories were established at courts across Europe, however, the material's signifying role became complex. On the one hand, its alchemical associations aligned it with unfettered princely power in the realm of the absolutist court. On the other, its origins in laboratory investigation could indicate a princely engagement with the Enlightenment pursuit of scientific knowledge. These contradictory associations reached an apogee in the so-called “Catholic Enlightenment,” producing artworks that sought to consolidate the church. This paper analyzes the Zwettler Tafelaufsatz—the great porcelain table centerpiece that was created in 1768 as part of a multimodal baroque celebration of Abbot Rayner Kollmann's jubilee at the Cistercian monastery of Zwettl in Lower Austria. Here the porcelain medium enabled the Cistercian brethren to argue for the continuing role of monasteries and monastic scholarship in eighteenth-century Enlightenment learning, while simultaneously declaring the limits of human learning and the ultimate supremacy of divine revelation in the context of an absolutist world order.
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Snitkuvienė, Aldona. "The Path of the First European Porcelain Wares to Lithuanian Museums." Perspektywy Kultury 25, no. 2 (July 1, 2019): 159–78. http://dx.doi.org/10.35765/pk.2019.2502.12.
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The state’s development, twists and turns of culture and history of the country, circumstances and passing time, often erase facts, that is why the reconstruction of the history of exhibits’ acquisition in museums is one of the most complicated aspects in museology. The article is dedicated to the presentation of Johann Friedrich Böttger’s (1682-1719) collection of red stone mass exhibits in Lithuanian museums and aims at revealing their history. Thanks to the archival register, it was possible to discover the inventory lists with descriptions of valuable works of art that had been prevented from being seized by Germans and preserved during the Soviet occupation. Among them, there were exhibits stored at the M.K. Čiurlionis National Museum of Art. Particularly valuable are twelve items of red stone mass by J.F. Böttger. Their identification revealed not only the date (1940) and the manor (the Pakruojis manor, Šiauliai region, Lithuania) from which the nationalized art collection was transferred to the museum but also to whom [Leo Carl von der Ropp (27.09.1860 Pakruojis – 09.10.1940 Berlin)] it belonged. That is how the history of J.F. Böttger’s red stoneware exhibits has been unveiled. The Lithuanian Art Museum purchased two exhibits from private persons (1980 and 1982).
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TÜRKEL, EFE. "The Effects of Edo Period on Japanese and European Porcelain Tradition." Journal of International Social Research 8, no. 39 (August 30, 2015): 404. http://dx.doi.org/10.17719/jisr.20153913762.
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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, no. 1(41) (January 31, 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 semantics of artistic decorations created on the basis of the Chinese religious and mythological beliefs, as well as literary and artistic works has been revealed. The attribution of products based on comparison with similar items from collections of world museums has been specified. The origin of the image of «Chinese woman with a child», which was commonly used during the reign of Emperor Yongzhen and his successor Qianlong, is related to several factors. First, creating a cycle of «Twelve Beauties at Leisure Painted for Prince Yinzhen, the Future Yongzheng Emperor», images of which have been reflected in numerous repetitions, in particular, on porcelain products. Secondly, the spread of European Christian missionaries in China with European models with the image of the Virgin Mary and the infant Christ, which could be the starting point for the spread of the Chinese «prototype» of a woman with one or two children.
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Ya., Zagvazdina. "PORCELIAN AND FAIENCE FROM THE EXCAVATIONS OF NEUDACHIN’S ESTATE IN TOBOLSK." Teoriya i praktika arkheologicheskikh issledovaniy 34, no. 2 (2022): 84–104. http://dx.doi.org/10.14258/tpai(2022)34(2).-06.
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This article is devoted to the study of the archaeological excavations materials carried out by L. N. Sladkova in 1998, in the upper part of the Tobolsk city, on the territory of Neudachin’s estate (the intersection of modern Oktyabrskaya St. and Academician Yuri Osipov St.). The objects of the study were numerous fragments of porcelain and earthenware products found during excavations. In this research, there was an attempt to determine the place and time of manufacture of porcelain and earthenware products, guided primarily by the information on the manufacturer’s stamps. The publication provided statistical data concerning the species of the discovered artifacts, the material from which they were made, as well as options for their decoration. All the discovered porcelain and earthenware products could be divided by time into items made in Soviet times and in the pre-revolutionary period. In addition, attention was paid to the place of production of fi nds, some information about the porcelain and earthenware products manufacturers was provided. Soviet porcelain and earthenware table- ware of the USSR, apparently, was connected with the orphanage located there at that time, which, taking into account the war and post-war time, could not be provided with any expensive goods. But if we talk about the late 19 th — early 20th century, the situation was probably completely different. Apparently, this place, located not far from the Kremlin, was inhabited by people who occupied a fairly high posi- tion in the society and had the opportunity to surround themselves with expensive imported things, in- cluding dishes of the highest quality. The rank of the owner of Neudachin, who was a valid state councilor, speaks of his high property and social status. This is confirmed by the finds of imported items. It can be assumed that the urban elite lived here at an earlier time. The finds, previously attributed to Chinese and European porcelain, indicate that people with a high level of income lived on the estate.
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Письмак, Юрий. "Viennese vase painted in Dresden (architectural, artistic, stylistic, morphological and structural features)." Arta 30, no. 1 (August 2021): 54–62. http://dx.doi.org/10.52603/arta.2021.30-1.08.
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The article examines the architectural, artistic, stylistic, morphological and structural features of an old porcelain vase from a private Odessa collection. The unpainted vase was made in 1860s at Vienna Porcelain Manufactory. This vase was painted in Helena Wolfsohn’s studio in Dresden between 1864 and 1878 (?). Helena Wolfsohn lived and worked in a significant center of European civilization, culture and arts of her time. The images are painted on the vase using the technique of manual overglaze painting. Amazingly arranged bouquets of flowers are painted on the turquoise background of the oval-shaped body of the vase, and gallant scenes in the Watteau style are depicted on the white parts of the body. On the bottom of the vase base an underglaze blue mark is applied: a shield. The painting of the vase is notable for a vivid pictorial effect, a successful composition, harmony and restraint of color shades. Similar vases painted at Helena Wolfsohn’s studio were exhibited at the International Exhibition in Sydney (1879) and at the World Exhibition in Melbourne (1880). Decorative porcelain vases play an important role in creating the architectural and artistic ensemble of the interior, whose main compositional principle is architectonics.
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CASSIDY-GEIGER, MAUREEN. "Afterthoughts on Fragile Diplomacy: Meissen Porcelain for European Courts,c.1710–1763." Court Historian 14, no. 2 (December 2009): 199–205. http://dx.doi.org/10.1179/cou.2009.14.2.007.
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Giannini, Rita, Ian C. Freestone, and Andrew J. Shortland. "European cobalt sources identified in the production of Chinese famille rose porcelain." Journal of Archaeological Science 80 (April 2017): 27–36. http://dx.doi.org/10.1016/j.jas.2017.01.011.
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Gerritsen, Anne, and Stephen McDowall. "Material Culture and the Other: European Encounters with Chinese Porcelain, ca. 1650-1800." Journal of World History 23, no. 1 (2012): 87–113. http://dx.doi.org/10.1353/jwh.2012.0023.
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Telste, Kari. "A Wedding Gift and Transculturation: Chinese Porcelain in Norway and the Danish Asian Company in China in the Eighteenth Century." Cultural History 7, no. 1 (April 2018): 1–19. http://dx.doi.org/10.3366/cult.2018.0156.
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Norwegian museums have large collections of chinaware, dating from the eighteenth century; most of it imported after the foundation the Danish Asian Company in 1732. I have selected a tea and coffee service in the collections of Norsk Folkemuseum: Norwegian Museum of Cultural History as a passageway to trace the entanglement of Norwegian consumers in cultural interactions with China. The service is part of a broader history of transculturation. This is a history of encounters and exchanges involving the cultural translation of Chinese designs in Europe, and Western designs in China. Into the transculturation is entangled the enthusiasm with Chinese porcelain in Europe, and the negotiations by which Chinese potters and painters translated European demands for particular shapes, decorative motifs and fashionable designs into porcelain products for export. Through the engagement of the Danish Asian Company in China, I will discuss the impact of these processes in Norway, and their influence on the tastes and preferences of Norwegian consumers.
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Colomban, Philippe, Burcu Kırmızı, Bing Zhao, Jean-Baptiste Clais, Yong Yang, and Vincent Droguet. "Investigation of the Pigments and Glassy Matrix of Painted Enamelled Qing Dynasty Chinese Porcelains by Noninvasive On-Site Raman Microspectrometry." Heritage 3, no. 3 (August 17, 2020): 915–40. http://dx.doi.org/10.3390/heritage3030050.
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A selection of 15 Chinese painted enameled porcelains from the 18th century (Qing dynasty) was analyzed on-site by mobile Raman and XRF microspectroscopy. The highly prized artifacts are present in the collections of the Musée du Louvre in Paris and Musée Chinois at Fontainebleau Castle in France. In the painted enamels, pigments such as Naples yellow lead pyrochlore, hematite, manganese oxide and carbon and opacifiers such as lead arsenates were detected. The glassy matrices of the enamels mainly belonged to lead-rich and lead-alkali glass types according to the Raman spectra obtained. The glaze and body phases of the porcelain artifacts were also analyzed. The detection of lead arsenate apatite in some of the blue enamels was significant, indicating the use of arsenic-rich European cobalt ores (smalt) and possibly mixing with Asian cobalt. This characteristic phase has also been identified in French soft-paste porcelains and glass decor and high-quality Limoges enamels from the same period. Based on the shape of the Raman scattering background, the presence of colloidal gold (Au° nanoparticles) was identified in red, orange and pink enamels. Different types of Naples yellow pigments were also detected with Sb-rich, Sn-rich and mixed Sb–Sn–(Zn, Fe?) compositions in the yellow enamels. The results were compared to previous data obtained on Chinese cloisonné and painted enameled metalware and Limoges enamels as well as French enameled watches.
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Souza, Marcondes Mendes, and Francine Alves Da Costa. "TECHNOLOGICAL TESTS USING QUARTZITE RESIDUES AS COMPONENT OF CERAMIC MASS AT THE PORCELAIN STONEWARE PRODUCTION." HOLOS 2 (March 20, 2015): 3. http://dx.doi.org/10.15628/holos.2015.2749.
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This work aims to evaluate through technological tests the use of quartzite residues as component at the the production of porcelain stoneware. Were collected five samples of quartzites called of green quartzite, black quartzite, pink quartzite, goldy quartzite, white quartzite. After, the raw materials were milled, passed by a sieve with a Mesh of 200# (Mesh) and characterized by chemical analysis in fluorescence of x-rays and also analysis of the crystalline phases by diffraction of x-rays. The porcelain tiles mass is composed of five formulations containing 57% of feldspar, 37% of clay and 6% of residues of quartzite with different coloration. For the preparation of the specimens, it was used uniaxial pressing, which afterwards were synthesized at 1150°C, 1200°C and 1250°C. After the sintering, the specimens were submit for tests of technological characterization like: water absorption, linear shrinkage, apparently porosity, density and flexural strain at three points. The results presented in the fluorescence of x-rays showed a high-content of iron oxide on black quartzite that is why it was discarded the utilization of it in porcelain stoneware. All quartzite formulations had low water absorption achieved when synthesized at 1200°C, getting 0.1 to 0.36% without having gone through the atomization process. At the tests of flexural strain, all the quartzite had in acceptance limits, according to the European norm EN 100, overcoming 27 MPA at 1200°C
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Lyakhovich, E. V. "Chinese Zoomorphic Motifs as an Area of Interaction between Chinese and European Porcelain Art." Университетский научный журнал, no. 65 (2022): 193–202. http://dx.doi.org/10.25807/22225064_2021_65_193.
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OConnor, Jennifer. "Savour: Food Culture in the Age of Enlightenment." Canadian Food Studies / La Revue canadienne des études sur l'alimentation 7, no. 2 (November 16, 2020): 82–84. http://dx.doi.org/10.15353/cfs-rcea.v7i2.385.
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The current exhibition at the Gardiner Museum, Savour: Food Culture in the Age of Enlightenment, explores how eating, cooking, and dining were reimagined in England and France from the 1650s to the 1790s. Drawing from the Gardiner’s collection of ceramics as well as works on loan from other museums and private collections, curator Meredith Chiton, Curator Emerita at the Gardiner who specializes in “early European porcelain, dining, and social culture of the eighteenth century”, combines the functional with the curious and the historic with the contemporary.
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Shakhova, S. V., and L. M. Taraniuk. "CREATIVE ECONOMY AS A TOOL OF INCREASING THE POTENTIAL OF THE PORCELAIN AND FAIENE INDUSTRY OF UKRAINE: PROBLEMS AND PROSPECTS." Vìsnik Sumsʹkogo deržavnogo unìversitetu, no. 4 (2020): 85–95. http://dx.doi.org/10.21272/1817-9215.2020.4-10.
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At the IV International Forum "Creative Ukraine", where the country's leadership declared the creative economy a priority of strategic development of Ukraine, it encourages the search and study of industries that meet the requirements of creativity and contribute to economic development. The purpose of this study is to analyze the activities of the porcelain and earthenware industry of Ukraine, the basis for its identification as such and its creative component - the field of manufacture of household and utility items. In this study in the implementation of the normative approach in considering the socio-economic development of the industry used the historical method, in the study of economic indicators used the method of extreme values, as well as applied general scientific methods of generalization and synthesis modern Ukraine for the period from the XVIII century to date. The indicators of the volume of production of this industry are investigated. The research of conformity of characteristics of the porcelain and faience industry to the criteria concerning branches of creative economy is carried out. The importance of the study is to identify a further range of issues that need to be researched and developed in order to find effective modern tools for the development of sectors of the national economy. In addition, at this stage in the development of the creative industry, attention to the study of the creative economy, in particular the porcelain and earthenware industry, should expose the problems facing manufacturers of creative products in order to develop effective tools to solve them. An important consequence for society should be the awareness of the significance of the very fact of the existence of such a creative industry as porcelain and earthenware. Its very existence represents the authenticity of a valuable cultural phenomenon that has been known in the world for a sufficient period of time, commands respect and indicates the significant cultural contribution that can be made to Ukraine as part of the European Community. Within the limits of the given article dependence of development of branch on public administration is considered. The direction of further research should include research on organizational and economic support for the reengineering of the porcelain and earthenware industry, taking into account the tools of the creative economy. Thus, at present, when developing the porcelain and earthenware industry as a strategic one, the article can be practically useful and socially valuable for politicians as well, in particular, in the profile newly created Ministry of Strategic Industries.
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Colomban, Philippe, Burcu Kırmızı, Bing Zhao, Jean-Baptiste Clais, Yong Yang, and Vincent Droguet. "Non-Invasive On-Site Raman Study of Pigments and Glassy Matrix of 17th–18th Century Painted Enamelled Chinese Metal Wares: Comparison with French Enamelling Technology." Coatings 10, no. 5 (May 12, 2020): 471. http://dx.doi.org/10.3390/coatings10050471.
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A selection of 10 Chinese enamelled metal wares dating from the 17th–18th centuries (Qing Dynasty) was analysed on-site by mobile Raman microspectroscopy. These wares display cloisonné and/or painted enamels and belong to the collections of Musée du Louvre in Paris and Musée Chinois at the Fontainebleau Castle in France. Pigments (Naples yellow lead pyrochlore, hematite, manganese oxide etc.), opacifiers (fluorite, lead arsenates) and corresponding lead-based glassy matrices were identified. One artefact was also analysed by portable X-ray fluorescence spectrometry (pXRF) in order to confirm the Raman data. In some of these metal wares, it is suggested that cassiterite was unpredictably used as an opacifier in some parts of the decor. The results are compared to previous data obtained on Chinese cloisonné and Limoges enamels as well as recent data recorded on painted enamelled porcelains of the Qing Dynasty. Lead arsenate apatite detected in some of the 17th–18th century blue enamelled decors is related to the use of arsenic-rich European cobalt ores, as also characterized in French soft-paste porcelain and glass decors and high-quality Limoges enamels for the same period. However, lead arsenate could then also have been deliberately used for white opacification. The specific Raman signature displaying the shape of the Raman scattering background indicates the presence of colloidal gold (Au° nanoparticles) in red to violet enamelled and cloisonné areas. At least three types of Naples yellow lead pyrochlore pigments identified with Sb-rich, Sn-rich and mixed Sb–Sn–(Zn, Fe?) compositions prove the use of European pigments/recipes.
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Shin, Juhye. "Ming and Qing Dynasty ‘Hundred Antiques(bógǔ)’ Export Ceramics for the European Market in the Seventeenth and Eighteenth Centuries." Korean Journal of Art History 313 (March 31, 2022): 121–54. http://dx.doi.org/10.31065/kjah.313.202203.005.
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This paper aims to examine the aspects of a particular design that appears on Chinese export porcelain produced for the European market in the seventeenth and eighteenth centuries of the Ming and Qing dynasties. The bogu design portrays bronze vessels or other ancient objects as the central component supplemented by auspicious subjects such as scholar's accoutrements(文房淸玩) and the eight treasures(八寶). The specific elements included in the design and the overall composition changed throughout the seventeenth and eighteenth centuries. These changes can be categorized into three distinct types and periods. Chinese bogu ceramics exported to Europe also had an effect on the ceramic production of its destination. The European reproduction of bogu ceramics took form in two ways. The first is a faithful imitation that strived to emulate the exact shape, design, and style of the Chinese ceramics. The second is a departure from the original as it incorporated elements of European taste. Most notably, the combination of 'bogu' elements with aspects of Chinoiserie and European still-life paintings, as seen during the transformation stage of Chinese bogu ceramics, was a significant development that emerged as a new trend in European ceramics.
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Lee, Jungmin. "European Porcelain for the Royal Court in the Late Chosŏn Dynasty: Production, Analysis and Evaluation." International Journal of Korean History 20, no. 2 (August 31, 2015): 1–45. http://dx.doi.org/10.22372/ijkh.2015.20.2.1.
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Yu, Pauline. "“Your Alabaster in This Porcelain”: Judith Gautier's Le livre de jade." PMLA/Publications of the Modern Language Association of America 122, no. 2 (March 2007): 464–82. http://dx.doi.org/10.1632/pmla.2007.122.2.464.
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This article discusses the history of Judith Gautier's Le livre de jade (1867), one of the earliest volumes of translations of Chinese poetry published in any European language. It explores the connection between her interest in this project, which Gautier undertook as an amateur student of Chinese, and both the sinological context and the influence of her father, Théophile. Although her command of Chinese was imperfect, Gautier knew more than many have insinuated; her renditions convey important themes of the Chinese poetic tradition and maintain at times an impressive fidelity to the original form. Though she frequently chose to adapt the Chinese verse to an innovative rhythmic prose, her adaptations retain the originals' emotional reticence and imagistic evocativeness–stylistic qualities that resonated with contemporary and succeeding poetic tastes. The collection's remarkable literary and musical afterlife provides an illuminating case in the cultural history of translation, mistranslation, and adaptation.
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Афанасьева, Анна Николаевна, and Сергей Евгеньевич Винокуров. "Meissen‘s porcelain sculpture «Flower-girl» of the xix century in the context of migration of models." Академический вестник УралНИИпроект РААСН, no. 1(52) (March 30, 2021): 65–71. http://dx.doi.org/10.25628/uniip.2022.52.1.011.
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В статье представлен опыт атрибуции произведения фарфоровой пластики Мейсенской мануфактуры середины XIX века из собрания Екатеринбургского музея изобразительных искусств. Приводятся сведения об источнике модели рассматриваемого произведения и его художественных особенностях, раскрывается контекст практически одновременного появления в ассортименте как немецких, так и отечественных фарфоровых предприятий произведений, созданных по одной модели. Рассмотренный кейс позволяет сделать вывод о достаточно высокой степени условности художественных границ в европейском искусстве XVIII-XIX веков и активизации процессов миграции художественных моделей в европейском декоративно-прикладном искусстве эпохи историзма. Статья подготовлена на основе доклада, озвученного на VII Всероссийской научно-практической конференции «Проблемы атрибуции памятников декоративно-прикладного искусства XVI-XX вв.», которая состоялась 19-21 октября 2021 г. в Государственном историческом музее (Москва). The article presents the experience of attribution of a work of porcelain sculpture by the Meissen manufactory of the middle of the 19th century from the collection of the Yekaterinburg Museum of Fine Arts. The article provides information about the source of the model of the work in question and its artistic features. The context of the almost simultaneous appearance in the assortment of both German and Russian porcelain factories of sculptures created according to the same model is revealed. The considered case allows us to conclude that there is a high degree of conventionality of artistic boundaries in European art of the 18th - 19th centuries, and the intensification of the migration of models and samples in European decorative art of the period of historicism The article provides information voiced in the framework of report of VII All-Russian scientific and practical conference “Problems of attribution of artworks of decorative arts of the 18th-20th centuries”, which took place on October 19-21, 2021, at the State Historical Museum (Moscow).
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Meicun, Lin, and Ran Zhang. "A Chinese Porcelain Jar Associated with Marco Polo: A Discussion from an Archaeological Perspective." European Journal of Archaeology 21, no. 1 (May 19, 2017): 39–56. http://dx.doi.org/10.1017/eaa.2017.21.
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As the first European to claim that he travelled to China and back, Marco Polo is a celebrated traveller who described the multicultural society of Eurasia in the thirteenth to fourteenth centuries ad. However, his famed account, the Travels of Marco Polo, contains many unsolved mysteries which have generated discussion among historians, while an archaeological approach has been even less convincing because the material that may link to Marco Polo is very rare. A recent re-analysis of Chinese ceramics from a wide geographical area ranging from southern China to the Indian Ocean provides some archaeological support: it suggests that a Chinese porcelain jar housed in the Treasury of San Marco in Venice dates to the era of Marco Polo and is associated with his journey to China.
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Фёдорова, Анна, and Anna Fedorova. "Nikolay Tyutchev and Cirill Pigarev as founders of the State Tyutchev Memorial Estate «Mouranovo»." Service & Tourism: Current Challenges 9, no. 2 (June 15, 2015): 92–96. http://dx.doi.org/10.12737/11401.
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The State Tyutchev memorial estate «Mouranovo» is connected with the names of the two famous poets Eugeny Bo-ratynsky (1800-44) and Feodor Tyutchev (1803-73). The founder of the fist museum exposition was a grandson of the poet Tyutchev - Nickolay Tyutchev (1876-1949). The exposition created by him includes different pieces: family portraits, rare books and pieces of art, samples of rare Russian and European porcelain, autographs. Then after his death the head of the museum became his nephew, great grandson of the poet Feodor Tyutchev - drill Pigarev (1911-84), PhD. He was a philologist, literary critic and researcher, one of the best specialists in Tyutchev studies. The article is dedicated to N. Tyutchev and С Pigarev, their life and activity as directors of the Memorial estate and it highlights a lot of extracts from visitors´ memoirs on meetings and work together with these two successors of the country estate. Nikolay Tyutchev was a famous expert in art among collectors of porcelain and rare pieces of art. He granted his own great collections to the museum, drill Pigarev and his donation to the museum and museum research issues were appreciated by scholars, literary critics and connoisseurs of Russian literature. The issues published at his time then became a great basement for further Tyutchev and Boratynsky studies as well as Russian poetry of the golden age.
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Colomban, Philippe, Ting-An Lu, and Véronique Milande. "Non-invasive on-site Raman study of blue-decorated early soft-paste porcelain: The use of arsenic-rich (European) cobalt ores – Comparison with huafalang Chinese porcelains." Ceramics International 44, no. 8 (June 2018): 9018–26. http://dx.doi.org/10.1016/j.ceramint.2018.02.105.
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Vilensky, Jan E. "European Porcelain of the 18th Century as an Artifact and an Art-Object or the Compotier’s Story." Actual Problems of Theory and History of Art 8 (2018): 637–44. http://dx.doi.org/10.18688/aa188-7-62.
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Guoyi, Qin. "COLLECTING CHINA ART OBJECTS IN ENGLAND IN THE 19TH CENTURY." Articult, no. 3 (2022): 18–24. http://dx.doi.org/10.28995/2227-6165-2022-3-18-24.
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In the article, in the form of a brief overview, the Chinese influence on European art, in particular on English art, in the 19th century is described. The history of the emergence of Chinese art in Britain is summarized, the main stages of collecting and their prominent representatives are described. The article describes such areas of art as porcelain, engravings, painting, architecture, shows a description of their influence on European art, gives the reasons for the appearance of Chinese art in Europe. This article corrects the current picture of the development of collecting, based mainly on English-language material. The relevance of the study lies in the fact that the relationship of the studied cultures, the influence of Chinese culture on English is considered in the prism of social and political factors. The novelty of this study lies in the fact that the influence of Chinese art on the art of Europe depended on their position in the respective hierarchies: the higher the status of art in China, the less influence it had in Europe; and the higher the status of art in Europe, the less susceptible it was to Chinese influence.
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Edwards, Morgan, Christopher Coates, and Andrew Rowley. "Host Range of the Mikrocytid Parasite Paramikrocytos canceri in Decapod Crustaceans." Pathogens 8, no. 4 (November 20, 2019): 252. http://dx.doi.org/10.3390/pathogens8040252.
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Mikrocytids are a widespread but rather neglected group of parasites of aquatic invertebrates. One such parasite is Paramikrocytos canceri—discovered to infect the antennal gland of the juvenile edible crab, Cancer pagurus, taken from several intertidal sites across the United Kingdom. To determine if this parasite is also present in other species of decapod crustaceans, we surveyed crabs (n = 330) across two contrasting sites in Pembrokeshire (UK). Using a histopathological approach, P. canceri infection was confirmed in variable numbers of edible crabs from both survey sites, 7–44%. No measurable signs of infection were encountered in four other co-located species, including European shore crabs (Carcinus maenas), Montagu’s crabs (Xantho hydrophilus), velvet swimming crabs (Necora puber) and broad-clawed porcelain crabs (Porcellana platycheles). These data imply that P. canceri has a more limited host range than suggested by molecular diagnosis alone.
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Montanari, Riccardo, Maria Francesca Alberghina, Annalaura Casanova Municchia, Emanuela Massa, Anna Pelagotti, Claudia Pelosi, Salvatore Schiavone, and Armida Sodo. "A polychrome Mukozuke (1624–1644) porcelain offers a new hypothesis on the introduction of European enameling technology in Japan." Journal of Cultural Heritage 32 (July 2018): 232–37. http://dx.doi.org/10.1016/j.culher.2017.12.010.
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Puziuk, Jakub. "Polish-English Basic Dictionary of Archaeological Terminology of Modern Tobacco Pipe Findings with Elements of Pipe Production and Tobacco Smoking in the Modern Period." Fasciculi Archaeologiae Historicae 34 (December 13, 2021): 131–37. http://dx.doi.org/10.23858/fah34.2021.009.
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The aim of this work is to present the translation of professional terminology concerning tobacco pipes acquired by excavation methods, supplementing the already existing term base of concepts with a Polish-English translation, important in the context of the current research on this subject. This dictionary is a translation of the basic terms used in English-language works (also used in works of researchers from Central and Eastern Europe) concerning descriptions of tobacco pipe remains (based on finds of stub-stemmed pipes, one-piece clay pipes and porcelain pipes) in archaeological research, the production of such paraphernalia and elements of history of tobacco smoking, which were additionally supplemented with terms currently used in Polish archaeological literature. This dictionary should be treated as a contribution to further work on standardisation of European archaeological terminology, which should provide an aid for both specialists and enthusiasts reaching for professional literature on antique pipes.
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IMHOFF, EMILY M., ROBERT J. G. MORTIMER, MARTIN CHRISTMAS, and ALISON M. DUNN. "Horizontal transmission of Thelohania contejeani in the endangered white-clawed (Austropotamobius pallipes) and the invasive signal crayfish (Pacifastacus leniusculus)." Parasitology 139, no. 11 (July 20, 2012): 1471–77. http://dx.doi.org/10.1017/s0031182012000777.
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SUMMARYThe microsporidian parasite Thelohania contejeani causes porcelain disease and has been implicated in mass mortalities in populations of the endangered European crayfish Austropotamobius pallipes. However, the route of parasite transmission is not known. This paper investigates the horizontal transmission of T. contejeani between A. pallipes hosts as well as its transmissibility to the invasive signal crayfish (Pacifastacus leniusculus). Field collected juvenile A. pallipes and P. leniusculus were assigned to 1 of 3 experimental treatments; fed heavily infected A. pallipes tissue, exposed to water from tanks housing heavily parasitized A. pallipes, and a control group to provide an estimate of the baseline infection levels in the field. After 26 weeks, abdominal muscle samples were screened by PCR for T. contejeani. Infection was significantly higher in the treatment groups (83% in the cannibalism treatment, 42% in the water exposure treatment) than in the control group (4%), providing evidence for horizontal transmission of the parasite between A. pallipes hosts. Cannibalism and scavenging are common amongst crayfish, providing transmission opportunities in the field. The study also provides the first direct evidence for transmission of the parasite from an indigenous European crayfish species to the invasive signal crayfish, with 50% of P. leniusculus in each treatment, and 8% of control animals infected. We discuss the possibility that high density populations of the invasive signal crayfish may serve either as reservoirs or sinks for the parasite.
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Serzhant, Liudmyla. "Bauhaus and the Ceramic Art of the 20th Century (On the Issue of the Style Evolution of Ukrainian Porcelain and Earthenware)." Folk art and ethnology, no. 3 (July 30, 2022): 37–49. http://dx.doi.org/10.15407/nte2022.03.037.
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An attempt is made in the article to trace the revolutionary influence of the ideological program of the German Bauhaus An attempt is made in the article to trace the revolutionary influence of the ideological program of the German Bauhaus school (1919–1932) on the art of ceramics, to show the general historical, social and political contexts, the change of the cultural and artistic paradigm in European art after the First World War and to mark some points of contact in the cultural and artistic processes of Western Europe and Ukraine in the first half of the 20th century. The purpose of this article is to highlight the history and achievements of the ceramic workshop of this school, the theoretical foundations of its activity, the highlight the history and achievements of the ceramic workshop of this school, the theoretical foundations of its activity, the organization of the educational process, which are not too well known to Ukrainian researchers. The school has practiced are volutionary method of teaching artists and designers whose task is to create a harmonious living space for a person, which contributes to the spread of functionalism. In the 1920s and 1930s the formation of a national style in the art of Ukrainian ceramics has taken place due to the interaction of two factors – the folk pottery tradition and the innovative influences of European stylistic trends. Mezhyhiria Artistic Ceramic Technical College has become one of the centers of this development. Its program is similar to the Bauhaus program in many aspects. An attempt to reveal some common approaches in the organization of work of two educational institutions and their significance in the formation of the modernist stylistics of ceramic art, in particular porcelain and earthenware of the mid-20th century is made.
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Mills, Paula, and Rose Kerr. "A STUDY OF RUBY-PINK ENAMELS ON CHINESE PORCELAIN: WITH A COMPARISON OF CHINESE PINK GLASS, AND EUROPEAN PINK ENAMELS ON CERAMICS." Studies in Conservation 45, sup2 (October 2000): 21. http://dx.doi.org/10.1179/sic.2000.45.s2.021.
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Chaudhuri, K. N. "Precious metals and mining in the New World: 1500–1800." European Review 2, no. 4 (October 1994): 261–70. http://dx.doi.org/10.1017/s1062798700001186.
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The discovery of large quantities of gold and silver in the New World following the voyage of Christopher Columbus had a major impact on the subsequent history of the world economy. These two precious metals together with copper were regarded as the standard and measure of value in all societies throughout history. The sudden increase in the supply of gold and silver greatly increased the capacity of individual countries such as Spain and Portugal to finance wars and imports of consumer goods. The new Spanish coin, the real of eight, became an international currency for settling trade balances, and large quantities of these coins were exported to the Middle East, India, Southeast Asia, and China to purchase oriental commodities such as silk piece goods, cotton textiles, industrial raw material such as indigo, and various kinds of spices, later followed by tea, coffee, and porcelain. The trade in New World gold and silver depended on the development of new and adequate mining techniques in Mexico and Peru to extract the ore and refine the metal. South German mining engineers greatly contributed to the transplantation of European technology to the Americas, and the Spanish-American silver mines utilised the new mercury amalgamation method to extract refined silver from the raw ores. Although the techniques used in Mexico and Peru were not particularly advanced by contemporary European standards, the American mine owners remained in business for more than three hundred years, and the supply of American silver came to be the foundation of the newly rising Indian Ocean world economy in the 17th and 18th centuries.
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Rubino, Antonino S., Francesco Nicolini, Tuomas Tauriainen, Till Demal, Marisa De Feo, Francesco Onorati, Giuseppe Faggian, et al. "Failure to achieve a satisfactory cardiac outcome after isolated coronary surgery in low-risk patients." Interactive CardioVascular and Thoracic Surgery 31, no. 1 (May 23, 2020): 9–15. http://dx.doi.org/10.1093/icvts/ivaa062.
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Abstract OBJECTIVES This study aims to investigate the incidence and determinants of major early adverse events in low-risk patients undergoing isolated coronary artery bypass grafting (CABG). METHODS The multicentre E-CABG registry included 7352 consecutive patients who underwent isolated CABG from January 2015 to December 2016. Patients with an European System for Cardiac Operative Risk Evaluation (EuroSCORE) II of <2% and without any major comorbidity were the subjects of the present analysis. RESULTS Out of 2397 low-risk patients, 11 (0.46%) died during the index hospitalization or within 30 days from surgery. Five deaths were cardiac related, 4 of which were secondary to technical failures. We estimated that 8 out of 11 deaths were potentially preventable. Logistic regression model identified porcelain aorta [odds ratio (OR) 34.3, 95% confidence interval (CI) 1.3–346.3] and E-CABG bleeding grades 2–3 (OR 30.2, 95% CI 8.3–112.9) as independent predictors of hospital death. CONCLUSIONS Mortality and major complications, although infrequently, do occur even in low-risk patients undergoing CABG. Identification of modifiable causes of postoperative adverse events may be useful to develop preventative strategies to improve the quality of care of patients undergoing cardiac surgery. Clinical Trial Registration NCT02319083 (https://clinicaltrials.gov/ct2/show/NCT02319083).
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Goncharov, E. Yu, and S. E. Malykh. "ISLAMIC COINS FROM EASTERN GIZA (EGYPT)." Journal of the Institute of Oriental Studies RAS, no. 3 (13) (2020): 57–62. http://dx.doi.org/10.31696/2618-7302-2020-3-57-62.
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The article focuses on the attribution of one gold and two copper coins discovered by the Russian Archaeological Mission of the Institute of Oriental Studies RAS in the ancient Egyptian necropolis of Giza. Coins come from mixed fillings of the burial shafts of the Ancient Egyptian rock-cut tombs of the second half of the 3rd millennium B.C. According to the archaeological context, the coins belong to the stages of the destruction of ancient burials that took place during the Middle Ages and Modern times. One of the coins is a Mamluk fals dating back to the first half of the 14th century A.D., the other two belong to the 1830s — the Ottoman period in Egypt, and are attributed as gold a buchuk hayriye and its copper imitation. Coins are rare for the ancient necropolis and are mainly limited to specimens of the 19th–20th centuries. In general, taking into account the numerous finds of other objects — fragments of ceramic, porcelain and glass utensils, metal ware, glass and copper decorations, we can talk about the dynamic nature of human activity in the ancient Egyptian cemetery in the 2nd millennium A.D. Egyptians and European travelers used the ancient rock-cut tombs as permanent habitats or temporary sites, leaving material traces of their stay.
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GALAMBOS, IMRE. "The story of the Chinese seals found in Ireland." Journal of the Royal Asiatic Society 18, no. 4 (October 2008): 465–79. http://dx.doi.org/10.1017/s1356186308008638.
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In 1850, a paper was read before the Royal Historical Society of Ireland regarding a group of Chinese porcelain seals that had come to light during the previous eighty years in Ireland. In total there were about sixty seals which it was claimed had been discovered in various places throughout Ireland, ranging from Belfast all the way to Cork. In addition to their wide dispersion pattern, the seals were found in the strangest places – in an orchard, a cave, bogs, and so on. The discovery could not be easily explained at the time and when the inscriptions turned out to be written in the Chinese seal script, a number of fanciful hypotheses were advanced as to how these seals “of great antiquity” appeared in Ireland. According to these explanations, the seals were either brought over by the Phoenicians, or by ancient Irish tribes after their wanderings in China, or by mediaeval Irish monks travelling from the Middle East. All along, the emphasis was on the extent to which these artefacts corroborated Ireland's ancient connection with the Orient, an idea that was believed and promoted at the time by both Irish nationalists and English imperialists. Both sides, albeit from a different standpoint and driven by different motives, saw the Irish as a distinctly non-European culture, whose ancestors must have originated from distant lands far beyond the perimeters of western civilisation.