The Porcelain Twinz, Heather and Amber Langley, are twin sisters who perform a burlesque show where they simulate sex with each other. The two have sued a club owner who pressured them to perform actual sex acts together.
Written by dynastyantique on Longquan earthenware are celadon created at the a huge selection of kilns in the vicinity of Lungquan spot in southwestern part of Zhejiang province, China. Through the Song dynasty (960-1279), workmen had set up the Longquan surface signature lustrous, greenish pigmentation, a tradition which continuedthrough the YuanDynasty (1271-1368) and Ming dynasty (1368-1644).
Experts have long shown admiration for the elegant slim physique and heavenly, bluish-green surface of the Song dynasty Longquan kiln, along with the increase-sized, heavy and vigorous Yuan dynasty earthenware. Our exhibition focuses on the Ming dynasty Longquan porcelain: their use in court, admiration by the literati, and unique position in tributary and commerce relations between the empire and other nations.
Among the Ming Dynasty Longquan ceramics, those with shiny, vibrant, green glaze in yellow or milky tones earned the most care. They usually in the neat shape and fully etched with complicated patterns, which were very much the same to those of Jingdezhen official wares, clear signs of painstaking and magnificent skillfullness. Nevertheless the significance of the Ming Dynasty celadon was little known. Only recently did archaeologists find out the kilns site in Longquan’s Dayao place with dated shards of styles uncovered. The breakthrough confirmed historical files recording Longquan kilns once as supplier for and supervised by the early Ming Dynasty court. After the mid-Ming period, Longquan porcelain worsened in quality; as glazings grew transparent and slim, the chiselling turned coarse. Nevertheless, the Longquan kilns stayed an critical site beyond the Jingdezhen, givingwares for display in the residences.Longquan wares were also an important
commodity key to the Ming court’s domination over foreign trade and tributary relations. Possibly even today, traces of Ming dynasty Longquan wares often appear in archaeological sites and court collections in Asia, Africa, and Europe. They also motivated the formation of various ceramics industries outside China. We can therefore conclude that Longquan celadon have got a splendor that is universally regarded.
The coloring of celadon results from natural iron oxide in the glaze, which yields the green hue when fired in a reducing atmosphere kiln. By the tenth millennium, workmen in Longquan County and the neighboring location of southwestern Zhejiang were already producing celadon. The quality and quantity of Longquan celadon reached their zenith during the Southern Song (1127-1279) and Yuan dynasties (1271-1368). The Song wares vastly valued with simple forms and ethereal bluish-green glazes without crackle. However, Yuan wares are large, thick with dense greenish color and vigorous decoration. Traditionally, the mugwort green of the Yue ware, the sky blue of the Ru ware, the olive green of the Yaozhou ware, and the pale bluish-green crackled glaze of the Song Guan-official ware have all liked celebrated reputations. Even with these rivals, the Longquan wares have gained great compliment due to their incomparableaesthetic.
When foreign envoys came in the Ming court to pay tribute, they received many merchandise as forms of prize. This gave rise to the specific event of using governmental associations of honor and rewards to carry out international trade. Ceramics were amid the most desired items as a reward. Some nations proclaimed that they highly valued ceramics more than top quality silks. Some nations’ envoys even sailed to the Longquan area to be able to invest in ceramic wares immediately and re-sell them in other areas. Longquan wares have also been discovered among goods retrieved from submerged ships, further demonstrating their popularity in those times. Many nations also begun to replicate the ceramic wares of the Longquan kiln, adding local factors to decoration their industry’s wares.
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Showing posts with label Antique Porcelain. Show all posts
Showing posts with label Antique Porcelain. Show all posts
Wednesday, December 14, 2011
Monday, October 3, 2011
Ancient Art of Yuan Dynasty Porcelain Pieces
Yuan Dynasty. (1279-1368), Under glazed blue and white porcelain technique provided an ideal medium for a whole new range of Chinese decorative expressions often depicting the rich mythology and symbolism which were so much a part of Chinese life.
Yuan Dynasty is era of basic technology of ceramic production had already been well developed. It was only in decorative styles and new materials that the potter found scope for further experimentation and innovation.
However, in contrast to the restrained classical taste of the Sung court, the new Mongolian rulers’ disinterested attitude in the arts provided a more liberal artistic environment which was conducive to creative experimentation and new directions in decorative styles.
Single most important ceramic development during the Yuan period was the successful use of imported cobalt blue for painting under a clear glaze to produce blue-and-white porcelain.
Underglazed copper red was also used, often in conjunction with underglaze cobalt blue decoration.
Ancient Art of Yuan Dynasty Porcelain Pieces
BOWL, decorated outside with a freely drawn chrysanthemum scroll and inside with a flaming pearl. Base unglazed. Diameter 11.75 cms. Yuan Dynasty, early 14th century.
DOUBLE GOURD EWER, decorated outside with chrysanthemum scrolls, spout and handle lightly painted. key fret pattern round the neck. Base unglazed. Height 14 cms. Yuan Dynasty, early Nth century.
STEM CUP, painted outside with a simple decoration of symbols between a double band. Height 8.5 cms. Yuan Dynasty, early 14th century.
JARLET, the inside unglazed, painted outside with a freely drawn chrysanthemum scroll, key fret pattern on the shoulder. Height 5 cms. Yuan Dynasty, early 14th century.
DRUM SHAPED POT, without lid, painted outside with - a chrysanthemum scroll between a double band of moulded beading. Base and liprim unglazed. Height 7 cms. Yuan Dynasty, early 14th century.
View the original article here
Yuan Dynasty is era of basic technology of ceramic production had already been well developed. It was only in decorative styles and new materials that the potter found scope for further experimentation and innovation.
However, in contrast to the restrained classical taste of the Sung court, the new Mongolian rulers’ disinterested attitude in the arts provided a more liberal artistic environment which was conducive to creative experimentation and new directions in decorative styles.
Single most important ceramic development during the Yuan period was the successful use of imported cobalt blue for painting under a clear glaze to produce blue-and-white porcelain.
Underglazed copper red was also used, often in conjunction with underglaze cobalt blue decoration.
Ancient Art of Yuan Dynasty Porcelain Pieces
BOWL, decorated outside with a freely drawn chrysanthemum scroll and inside with a flaming pearl. Base unglazed. Diameter 11.75 cms. Yuan Dynasty, early 14th century.
DOUBLE GOURD EWER, decorated outside with chrysanthemum scrolls, spout and handle lightly painted. key fret pattern round the neck. Base unglazed. Height 14 cms. Yuan Dynasty, early Nth century.
STEM CUP, painted outside with a simple decoration of symbols between a double band. Height 8.5 cms. Yuan Dynasty, early 14th century.
JARLET, the inside unglazed, painted outside with a freely drawn chrysanthemum scroll, key fret pattern on the shoulder. Height 5 cms. Yuan Dynasty, early 14th century.
DRUM SHAPED POT, without lid, painted outside with - a chrysanthemum scroll between a double band of moulded beading. Base and liprim unglazed. Height 7 cms. Yuan Dynasty, early 14th century.
View the original article here
Sunday, September 25, 2011
China Blue White Porcelain Early Development
Exactly when Chinese blue-and-white China Porcelain was first produced is still a subject of fervent debate among ceramic experts. Chinese tradition has it that blue-and-white was first developed in the Sung Dynasty (960-1279), then refined and put into commercial production in the Yuan Dynasty (1280-1368) and finally reached its peak of aesthetic maturity in the early Ming period (1368-1644).
However, the current opinion among most Western ceramics experts is that Chinese blue-and-white was only started in the first half of the 14th century, some time just before the middle of the Yuan Dynasty between 1322 and 1330.
LARGE DISH, with a central decoration of peonies and a rock, surrounded by a narrow cloud
collar, a lotus scroll in the cavetto and a classic scroll on the flattened, foliate rim.
The outside decorated with a peony scroll. Base unglazed. Diameter 52 cms. Early Ming,
early 15th century.
View the original article here
However, the current opinion among most Western ceramics experts is that Chinese blue-and-white was only started in the first half of the 14th century, some time just before the middle of the Yuan Dynasty between 1322 and 1330.
Ming Dynasty Blue White Plate
LARGE DISH, with a central decoration of peonies and a rock, surrounded by a narrow cloud
collar, a lotus scroll in the cavetto and a classic scroll on the flattened, foliate rim.
The outside decorated with a peony scroll. Base unglazed. Diameter 52 cms. Early Ming,
early 15th century.
View the original article here
Thursday, September 22, 2011
Chinese Blue White Yuan Porcelain
China Porcelain Blue White Kwan Jar
Remarkable design with an open art work panels framing copper red flowers and cobalt blue leaves.
Lotus panels at the bottom of the jar projecting aupicious valuable piece of treasure.
Yuan dynasty noted for heavy density ware with rich meticulous drawing far superior to those in the later part of Ming Dynasty which could not make up for such a value.
Five claws dragon are meant for imperial use. Commoners found using these
5 claws designed wares are put to death.
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Saturday, September 17, 2011
Blue White China Porcelain of Qing Dynasty
During the 17th and 18th centuries in Europe there was the “Chinoiserie” fashion for things Chinese, or what the Europeans believed to be Chinese looking, and large quantities of Chinese blue-and-white with pseudo-Chinese designs were exported to Europe.
After the reign of Ch’ien Lung, China entered into a period of political and economic uncertainty with increasing foreign intervention and domestic upheaval. This turbulent period saw a gradual decline in the quality of Chinese porcelain produced.
In fact, the kilns at Ching-te-Chen were destroyed by the Tai Ping rebels in 1853 and were not rebuilt until 1864. Nevertheless, throughout the later Ch’ing period, Chinese blue-and-white continued to serve as the basic utilitarian ware for everyday use among the countries of Southeast Asia and substantial quantities were exported, some of which were specially decorated to suit the tastes of specific markets such as Thailand and Vietnam.
Towards the end of the Qing dynasty during the Kuang Hsu period (1874-1908) there was a revival in the quality of porcelain and some very fine porcelains were produced during the closing years of imperial China.
View the original article here
After the reign of Ch’ien Lung, China entered into a period of political and economic uncertainty with increasing foreign intervention and domestic upheaval. This turbulent period saw a gradual decline in the quality of Chinese porcelain produced.
In fact, the kilns at Ching-te-Chen were destroyed by the Tai Ping rebels in 1853 and were not rebuilt until 1864. Nevertheless, throughout the later Ch’ing period, Chinese blue-and-white continued to serve as the basic utilitarian ware for everyday use among the countries of Southeast Asia and substantial quantities were exported, some of which were specially decorated to suit the tastes of specific markets such as Thailand and Vietnam.
Towards the end of the Qing dynasty during the Kuang Hsu period (1874-1908) there was a revival in the quality of porcelain and some very fine porcelains were produced during the closing years of imperial China.
View the original article here
Saturday, September 10, 2011
Yuan Dynasty, Early 14th Century Blue White Porcelain
However, in contrast to the restrained classical taste of the Sung court, the new Mongolian rulers’ disinterested attitude in the arts provided a more liberal artistic environment which was conducive to creative experimentation and new directions in decorative styles. The single most important ceramic development during the Yuan period was the successful use of imported cobalt blue for painting under a clear glaze to produce blue-and-white porcelain.
TWO SMALL CUPS, painted outside with chrysanthemum scrolls; in the inside one cup decorated with the character “shou” “Longevity” and key fret pattern and the other with a flower and classic scrol. Bases unglazed. Heights 7.7cms.
Yuan Dynasty, early 14th century.
SQUARE WATERPOT, with two small dragons as handles on the top. decorated on each side with chrysanthemum. Base unglazed. Height 5.5 cms. Yuan Dynasty,early 14th century.
TWO JARLETS, each with two ring handles on the neck, decorated outside with chrysanthemum scrolls. Height 5.5 cms. Yuan Dynasty, early 14th century.
TWO STAR-FRUIT SHAPED JARLETS, eight sided each with a pair of small ring handles on the neck, painted outside with chrysanthemum sprays. Base unglazed. Height 5.5 cms. Yuan Dynasty, early 14th century.
BIRD FEEDER, with a small ring handle on the shoulder, decorated outside with a chrysanthemum scroll. Height 4 cms. Yuan Dynasty,early 14th century.
BlueWhiteYuanDynastyPorcelain
View the original article here
TWO SMALL CUPS, painted outside with chrysanthemum scrolls; in the inside one cup decorated with the character “shou” “Longevity” and key fret pattern and the other with a flower and classic scrol. Bases unglazed. Heights 7.7cms.
Yuan Dynasty, early 14th century.
SQUARE WATERPOT, with two small dragons as handles on the top. decorated on each side with chrysanthemum. Base unglazed. Height 5.5 cms. Yuan Dynasty,early 14th century.
TWO JARLETS, each with two ring handles on the neck, decorated outside with chrysanthemum scrolls. Height 5.5 cms. Yuan Dynasty, early 14th century.
TWO STAR-FRUIT SHAPED JARLETS, eight sided each with a pair of small ring handles on the neck, painted outside with chrysanthemum sprays. Base unglazed. Height 5.5 cms. Yuan Dynasty, early 14th century.
BIRD FEEDER, with a small ring handle on the shoulder, decorated outside with a chrysanthemum scroll. Height 4 cms. Yuan Dynasty,early 14th century.
BlueWhiteYuanDynastyPorcelain
View the original article here
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