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Journal articles on the topic 'Teapots, Chinese'

Author: Grafiati

Published: 4 June 2021

Last updated: 28 July 2025

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1

He, Yinuo, Rusmadiah Anwar, Nor Nazida Awang, and Shimin Pan. "A Systematic Literature Review (SLR) on Yixing Zisha Teapot Design as Intangible Cultural Heritage." International Journal of Art and Design 8, no. 2 (2024): 1–17. http://dx.doi.org/10.24191/ijad.v8i2.1168.

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Promoting traditional culture and intangible cultural heritage has always been a hot topic for the Chinese government, which has also formulated a series of policies to support the development of intangible cultural heritage. As the first batch of intangible cultural heritage recognized by the Chinese government, Yixing Zisha teapot-making techniques have gradually spread in design theory and practise with the promotion of the government and artisans. Therefore, this article systematically reviews the design of Yixing Zisha teapots from the perspective of intangible cultural heritage, emphasis

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2

Fidan, Tonza Helvacıkara. "Reflections of Twelve Animal Zodiac Calendar As An Artistic Inspiration For Ceramic Teapots." International Social Mentality and Researcher Thinkers Journal 10, no. 3 (2024): 294–325. https://doi.org/10.5281/zenodo.11396706.

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In historical context, it is known that various calendars were used alongside different calculation methods. In Far Eastern Asian cultures, common calendars were used where various animals were distributed according to years, each animal carrying different meanings. In these cultures, calendars featuring “twelve animal figures” show similarities in the names of animals and their orderings. Referring to all these calendars, astrologers attempt to predict future events based on the animal representing the year. It is believed that the Zodiac system consisting of twelve constellations

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3

Shao, Qin. "Tempest over Teapots: The Vilification of Teahouse Culture in Early Republican China." Journal of Asian Studies 57, no. 4 (1998): 1009–41. http://dx.doi.org/10.2307/2659302.

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The Chinese Teahouse was one of a few traditional institutions of sociability whose wider social and cultural appeal overshadowed its primary business. Historically, it was closely woven into the fabric of Chinese life. In many communities the teahouse served as a center of information, a locus of leisure and social gatherings, an occasional office and marketplace for many practitioners, and an arena where various social forces competed for status and influence. Urbanization in the late Qing dynasty further contributed to the growth of teahouses, especially in the Yangzi River region (Suzuki 1

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4

Sample, Joe. "Pigtails, Prostrations, and People on Teapots: Graphic Satire and the British Encounter with Things Chinese, 1792–1842." Victorians Institute Journal 49 (November 1, 2022): 86–112. http://dx.doi.org/10.5325/victinstj.49.2022.0086.

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Abstract This article explores satire and comicality in written and visual representations of China using a metaphor introduced by Jonathan Spence in The Chan’s Great Continent: China in Western Minds (1998). Spence labels Western attitudes toward China and the Chinese “sightings.” Spence identified sightings in travel journals, stage plays, short stories, and philosophical tracts, but he did not explore depictions of China in graphic satires and related news reports even though they are rich sources of popular attitudes and unique opportunities to gauge the presence of China in Western minds.

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5

Schipper, Willem, and Piet Hol. "X-ray fluorescence analysis of historic Yixing ware and related Chinese style teapots." Journal of Cultural Heritage 74 (July 2025): 48–51. https://doi.org/10.1016/j.culher.2025.04.006.

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6

Ströber, Eva. "THE CHINESE TASTE FOR TEA: YIXING TEAPOTS IN THE COLLECTION OF THE PRINCESSEHOF MUSEUM, LEEUWARDEN." Aziatische Kunst 44, no. 2 (2014): 13–23. http://dx.doi.org/10.1163/2543-1749-90000375.

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7

Fernetti, Gustavo Osvaldo. "La loza “Patrón Sauce” (Willow Pattern) en Rosario, Argentina." Vestígios - Revista Latino-Americana de Arqueologia Histórica 18, no. 1 (2024): 93–116. https://doi.org/10.31239/vtg.v18i1.41547.

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Willow Pattern tableware has been treated in several works on English industry and customs. Used on plates, cups, teapots and trays, they have come down to our days as a design that recounts a legend: two chinese lovers who, persecuted, transform into two birds and so avoid punishment. Through the transfer technique– famously blue in color – the design filled the houses of the English middle classes from the end of the 17th century, producing massively, until today. However, today it is infrequent to find these pieces in antique shops and museums. But also it is very rare to find it into Rosar

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8

Na, Sangchul. "The Tea Utensils and Tea Culture Unearthed from Temples in the Jungwon region during the Goryeo Dynasty." Hoseo Archaeological Society 59 (October 31, 2024): 154–78. http://dx.doi.org/10.34268/hskk.2024.59.154.

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The Jungwon region currently centers around Chungcheongbuk-do, and includes parts of Gyeonggi-do and Gangwon-do around the Namhan River. At the heart of the Jungwon region is the Namhan River, which unites the area. Particularly during the Goryeo Dynasty, the Namhan River served as a major transportation and shipping route. Many temples were situated along the river and in its vicinity, which played various roles including religious, political, public, and recreational functions. As these temples performed these diverse roles, the tea culture in the Jungwon region naturally flourished alongsid

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9

Masbaka, Masyella, Stephen Chia, and Baszley Bee Basrah Bee. "Ceramics from the Tanjung Simpang Mengayau Shipwreck." SPAFA Journal 9 (April 9, 2025): 105–24. https://doi.org/10.26721/spafajournal.2l5br71rau.

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The Tanjung Simpang Mengayau shipwreck ceramics, from Kudat, Sabah, have previously been identified as Chinese ceramics dating to the Northern Song Dynasty (960-112 CE) by Sjostrand (2003). In this study, the shipwreck ceramic samples can be classified into 11 main ceramic types based on form, i.e., shape, function, glaze colour and decoration. The ceramic types are bowls, jars, plates, ewers, kendis, bottles, covered boxes, basins, teapots, vases and lids. The majority of ceramics are bowls with olive green glaze, followed by jars with various shades of brown glazes, and ewers with white glaz

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10

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

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The so-called Dao Guan Hu (bottom-filled ewer), also referred to as Dao Liu Hu (reverse-flow ewer), and Dao Zhu Hu (reverse-filled ewer), is a type of pouring vessel designed with Stevin’s Law, a formula in physics which employs a communicating tube to balance out the equilibrium of the liquid levels via a vacuum lock. The structure has a small hole at the bottom of a ewer, a jar, or a trompe-l'œil figure connected to a hollow tube inside the vessel. The liquid will not leak out when turning the vessel upright after it is filled. The current evidence attests that China started producing such w

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11

LU, CHI CHANG, and PO HSIEN LIN. "A Product as a Poem: A Case Study of a Bird-shaped Teapot Design Based on Traditional Chinese Poetic Aesthetics." Journal of Arts and Humanities 7, no. 3 (2018): 41. http://dx.doi.org/10.18533/journal.v7i3.1348.

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<p>The concept of emotional design has become the main focus in the current trend of perceptual consumption. After reviewing the historical development of art, we determined that traditional Chinese art emphasizes subjective expression and favor poetics. Poetics are image based, and personal feelings are used to analyze and understand external objects. These feelings are expressed implicitly through symbols or metaphors. Classical Chinese poetic aesthetic theory is based on nearly 2,000 years of history and, thus, comprises a myriad of valuable ideas. The creator of the bird-shaped teapo

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12

Yao, Shengrui. "Unique Fruit Development of Ornamental ‘Teapot’ Jujube." HortTechnology 23, no. 3 (2013): 364–68. http://dx.doi.org/10.21273/horttech.23.3.364.

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Jujube or chinese date (Ziziphus jujuba) has fruit that is developed mainly from ovary plus some nectary disk tissue, and the fruit can appear smooth or bumpy on the surface. The objective of this study was to investigate the unique fruit development of ornamental ‘Teapot’ jujube. Unlike ‘Li’ and ‘Lang’, ‘Teapot’ jujube fruit had one to five protuberances on the shoulder of the fruit and few entirely lack protuberances. The stamens of ‘Teapot’ jujube flowers were fewer in number, misplaced in location, and deformed in shape—some stamens were anthers only while others were filament only. Deform

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13

이정민. "A Study of Chinese Yixing Zisha Teapot and English Red Stoneware Teapot in Georgian Conversation Piece." KOREAN JOURNAL OF ART HISTORY 297, no. 297 (2018): 205–33. http://dx.doi.org/10.31065/ahak.297.297.201803.008.

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14

Bell, Susan E., and Kathy Davis. "Historical Fragments’ Mobile Echo." Transfers 7, no. 2 (2017): 115–19. http://dx.doi.org/10.3167/trans.2017.070209.

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Translocation – Transformation is an ambitious contribution to the subject of mobility. Materially, it interlinks seemingly disparate objects into a surprisingly unified exhibition on mobile histories and heritages: twelve bronze zodiac heads, silk and bamboo creatures, worn life vests, pressed Pu-erh tea, thousands of broken antique teapot spouts, and an ancestral wooden temple from the Ming dynasty (1368–1644) used by a tea-trading family. Historically and politically, the exhibition engages Chinese stories from the third century BCE, empires in eighteenth-century Austria and China, the Seco

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15

Xian, Jin, and Sung Won Lee. "A Study On the Characteristics of Purple Clay Teapot In Chinese Tea Culture." JOURNAL OF THE KOREAN SOCIETY DESIGN CULTURE 23, no. 4 (2017): 833–46. http://dx.doi.org/10.18208/ksdc.2017.23.4.833.

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16

Yue, Kong, Wei Qing Liu, Xiao Ning Lu, Wei Dong Lu, and Hui Feng Yang. "Study on Composites for Furniture with Waste Paper and Wood Particle." Advanced Materials Research 472-475 (February 2012): 1228–32. http://dx.doi.org/10.4028/www.scientific.net/amr.472-475.1228.

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The manufacturing process of particle composite for furniture, made of waste paper and wood particle, was studied and discussed in this paper, and an ornament cabinet and a Chinese style teapoy were assembled in the laboratory with the composite. The results showed the mechanical properties of composite made of waste paper, was low. Wood particle was blended with waste paper and made into composite, and the mechanical properties of the composite could meet the demand of particle board for furniture and ornament under the Chinese national standard. The application of waste paper-based composite

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17

Ni, Lixiao, and Shiyin Li. "Effects of organic matters coming from Chinese tea on soluble copper release from copper teapot." Science of The Total Environment 389, no. 1 (2008): 202–7. http://dx.doi.org/10.1016/j.scitotenv.2007.08.039.

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18

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 (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 charac

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19

Lee, Jungmin. "The Relationship between English Worcester Porcelain and Chinese Export Porcelain: Focusing on Blue and White Teapot with Landscape Decorations." Art History 39 (February 29, 2020): 161–88. http://dx.doi.org/10.14769/jkaahe.2020.02.39.161.

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20

"Establishing a Visual Design Framework in the Educational Inheritance of Yixing Zisha Teapots." International Journal of Advanced Research in Education and Society, June 1, 2024. http://dx.doi.org/10.55057/ijares.2024.6.2.47.

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As a critical traditional element in Chinese ceramic art design, the Yixing Zisha teapot, recognized as part of China's intangible cultural heritage, enjoys popularity not only for the unique functional advantages of its material but also for its aesthetic and whimsical form. However, the knowledge and theories regarding the form design of Yixing Zisha teapots have yet to be systematically explored, leading to difficulties in describing and interpreting their form characteristics, thereby affecting their development pace. In this qualitative study, through visual analysis methods, the design c

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21

"Visual Analysis of the Design Thinking Process of Yixing Zisha Teapots." Asian Journal of Research in Education and Social Sciences, June 1, 2024. http://dx.doi.org/10.55057/ajress.2024.6.2.43.

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Yixing Zisha teapots are an integral part of China's intangible cultural heritage, with their design traditions primarily relying on oral teaching and practice rather than systematic theoretical research. To address this research gap, this study engaged 10 expert practitioners in a design workshop, where numerous design sketches were produced. Using visual analysis, these sketches were thoroughly visually analyzed to explore the design processes and thinking patterns of Yixing Zisha teapot creation. The results reveal that the design process involves six distinct aspects: design form, design m

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22

Brien, Donna Lee. "A Taste of Singapore: Singapore Food Writing and Culinary Tourism." M/C Journal 17, no. 1 (2014). http://dx.doi.org/10.5204/mcj.767.

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Introduction Many destinations promote culinary encounters. Foods and beverages, and especially how these will taste in situ, are being marketed as niche travel motivators and used in destination brand building across the globe. While initial usage of the term culinary tourism focused on experiencing exotic cultures of foreign destinations by sampling unfamiliar food and drinks, the term has expanded to embrace a range of leisure travel experiences where the aim is to locate and taste local specialities as part of a pleasurable, and hopefully notable, culinary encounter (Wolf). Long’s foundati

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23

King, Emerald L., and Denise N. Rall. "Re-imagining the Empire of Japan through Japanese Schoolboy Uniforms." M/C Journal 18, no. 6 (2016). http://dx.doi.org/10.5204/mcj.1041.

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Introduction“From every kind of man obedience I expect; I’m the Emperor of Japan.” (“Miyasama,” from Gilbert and Sullivan’s musical The Mikado, 1885)This commentary is facilitated by—surprisingly resilient—oriental stereotypes of an imagined Japan (think of Oscar Wilde’s assertion, in 1889, that Japan was a European invention). During the Victorian era, in Britain, there was a craze for all things oriental, particularly ceramics and “there was a craze for all things Japanese and no middle class drawing room was without its Japanese fan or teapot.“ (V&A Victorian). These pastoral depictions

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