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Une référence inestimable pour tout amateur d'art, de culture ou d'histoire chinoise. Il est unique en ce qu'il traite presque exclusivement des produits de poterie de la célèbre famille de fours Changsha dans la province du Hunan pendant la dynastie Tang (AD 618-907). En plus de rendre hommage aux marchandises civiles « modestes » qui ont soutenu de manière si vitale le cadre d'une civilisation, le livre comprend également des informations sur la culture de la poterie de base, le contexte historique, la poésie, la calligraphie, l'ornementation et la décoration des articles en céramique.
Adopting the perspective of anthropology of art and combining it with global academic insights, this book helps the readers to recognize that “history is, in great measure, the record of human activity which spreads from the local to the regional, from the regional to the global, and from the global to the universal.” Readers will learn that China was not only the first country to create porcelain, but also the first to export it to the world, both the products and its techniques. Therefore, the history of Chinese ceramics reflects the history of Chinese foreign trade on the one hand and depicts the expansion of Chinese ceramic techniques and cultures on the other. In addition to ceramics types, molds, decoration, and techniques, the book analyzes the spiritual impacts and aesthetic conceptions embodied in the utensils of daily use by the Chinese literati. Therefore, it reaches the conclusion that ideological systems and not technological systems are what bring about social revolutions. In addition, the book is richly illustrated with pictures of earthenware and finely glazed pieces from later periods.
A compelling examination of the ultimate global commodity, blue and white porcelain, from kiln to consumers across the globe.
In the United States, ceramists view the making of kiln gods as playful enactments of lost ancient rituals involving demi-god kiln protectors; In China, at kiln sites and special temples, they are actually worshiped! Martie Geiger Ho's comprehensive and noteworthy study can be divided into two parts. In the first part, the reader is introduced to the realm of kiln lore, including the author's alter ego, the Kiln Priestess, who not only helps her watch over unpredictable kiln firings, but also manifests herself in the author's photographic works. Later she guides the reader through the origins of kiln gods in the American ceramic community. The second half of this book presents the cultural research and actual kiln god temple sites where various kiln god deities are worshiped in Hong Kong and China. Geiger-Ho's insights into this trope are not only unique; they are also the first to have been seriously researched as an academic undertaking. "My exhaustive research into the history and mythology of kiln gods as a topic for my dissertation led me to believe that there is a direct lost link between the practice of kiln god rituals in the United States and the ancient religious beliefs of China still in practice today."
Maris Boyd Gillette's groundbreaking study tells the story of Jingdezhen, China's porcelain capital, from its origins in 1004 in Song dynasty China to the present day. Gillette explores how Jingdezhen has been affected by state involvement in porcelain production, particularly during the long 20th century. She considers how the Chinese government has consumed, invested in, taxed and managed the local ceramics industry, and the effects of this state intervention on ceramists' lives, their local environment and the nature of the goods they produce. Gillette traces how Jingdezhen experienced the transition from imperial rule to state ownership under communism, the changing fortunes of the ceramics industry in the early 21st century, the decay and decline that accompanied privatisation, and a revival brought about by an entrepreneurial culture focusing on the manufacture of highly-prized 'art porcelain'.
Fired Clay in Four Porcelain Clusters examines how energy use in the ceramics-making industry has evolved as a result of technological advancements and changing social norms and ideas in environmental conservation. Three main research themes are highlighted. First, the book examines how the evolving use of energy fuels has impacted the developmental history of the ceramics-making industry, especially with regard to productive output. The second theme focuses on energy use by networks of specialists and technicians in ceramics-making artistic clusters and how ceramicist communities in the world organize themselves institutionally to maximize resource-sharing. Third, at a cognitive level, the volume studies changes in production and design, environmental thinking, energy use, and aesthetic trends among ceramicists and consumers. The four cities or towns of Arita, Hong Kong, Jingdezhen, and Yingge are the settings for this research.
One of the most enduring and pervasive myths about modernist architecture is that it was white-pure white walls both inside and out. Yet nothing could be further from the truth. The Color of Modernism explodes this myth of whiteness by offering a riot of color in modern architectural treatises, polemics, and buildings. Focusing on Germany in the early 20th century, one of modernism's most foundational and influential periods, it examines the different scientific and artistic color theories which were advanced by members of the German avant-garde, from Bruno Taut to Walter Gropius to Hans Scharoun. German color theory went on to have a profound influence on the modern movement, and Germany serves as the key case study for an international phenomenon which encompassed modern architects worldwide from le Corbusier and Alvar Aalto to Berthold Lubetkin and Lina Bo Bardi. Supported by accessible introductions to the development of color theory in philosophy, science and the arts, the book uses the German case to explore the new ways in which color was used in architecture and urban design, turning attention to an important yet overlooked aspect of the period. Much more than a mere correction to the historical record, the book leads the reader on an adventure into the color-filled worlds of psychology, the paranormal, theories of sensory perception, and pleasure, showing how each in turn influenced the modern movement. The Color of Modernism will fundamentally change the way the early modernist period is seen and discussed.