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Worldwide research on ancient glass began in the early 20th century. A consensus has been reached in the community of Archaeology that the first manmade or synthetic glasses, based on archaeological findings, originated in the Middle East during the 5000-3000's BC. By contrast, the manufacturing technology of pottery and ceramics were well developed in ancient China. The earliest pottery and ceramics dates back to the Shang Dynasty - the Zhou Dynasty (1700 BC-770 BC), while the earliest ancient glass artifacts unearthed in China dates back to the Western Han Dynasty. Utilizing the state-of-the art analytical and spectroscopic methods, the recent findings demonstrate that China had already developed its own glassmaking technology at latest since 200 BC. There are two schools of viewpoint on the origin of ancient Chinese glass. The more common one believes that ancient Chinese glass originated from the import of glassmaking technology from the West as a result of Sino-West trade exchanges in the Western Han Dynasty (206 BC-25 AD). The other scientifically demonstrates that homemade ancient Chinese glass with unique domestic formula containing both PbO and BaO were made as early as in the Pre-Qin Period or even the Warring States Period (770 BC-221 BC), known as Yousha or Faience.This English version of the previously published Chinese book entitled Development History of Ancient Chinese Glass Technology is for universities and research institutes where various research and educational activities of ancient glass and history are conducted. With 18 chapters, the scope of this book covers very detailed information on scientifically based findings of ancient Chinese glass development and imports and influence of foreign glass products as well as influence of the foreign glass manufacturing processes through the trade exchanges along the Silk Road(s).
The aim of the book is to report the recent research development of ancient glass and glazing technology and the historical-cultural exchange of the East and West along the Silk and Steppe Roads. The contents of this book are dedicated to promote the exchanges between researchers in both social and scientific fields.The scope of this book includes the new archaeological findings of ancient glass and faience in the world, the relationship of glassmaking with glazing technology, the development and application of modern techniques used for the characterization of ancient glass and glaze, compound colorants/opacifiers among ancient glass, the early exchanges of culture and techniques used between China and elsewhere along the Silk and Steppe Roads, and so on.
English translation of the Chinese publication Si chou zhi lu shang de gu dai bo li yan jiu, proceedings of the 2004 Urumqi Symposium on Ancient Glass in Northern China and the 2005 Shanghai International Workshop of Archaeology of Glass, with the addition of some new information and six previously unpublished papers presented at the International Congress on Glass held in Kyoto, Japan in 2004.
This book is an interdisciplinary exploration of archaeological glass in which technological, historical, geological, chemical, and cultural aspects of the study of ancient glass are combined. The book examines why and how this unique material was invented some 4,500 years ago and considers the ritual, social, economic, and political contexts of its development. The book also provides an in-depth consideration of glass as a material, the raw materials used to make it, and its wide range of chemical compositions in both the East and the West from its invention to the seventeenth century AD. Julian Henderson focuses on three contrasting archaeological and scientific case studies: Late Bronze Age glass, late Hellenistic-early Roman glass, and Islamic glass in the Middle East. He considers in detail the provenances of ancient glass using scientific techniques and discusses a range of vessels and their uses in ancient societies.
In this study, Emily Byrne Curtis explores as her subject lenses, spectacles, aventurine glass, and windows found in China from the sixteenth century. She traces their technological development back to the glassworks in Murano, Venice, and explores their significance in terms of Venice's commerce with China. Because glassware also figured among the gifts which three papal legates from the Vatican presented to the Kangxi and Yongzheng emperors, the author examines many documents from the archives in Rome and the Vatican; the study therefore touches, to an extent, on the history of the Catholic Church in China. Curtis also discusses in the volume some contemporary Chinese references and verses to European glassware, and in the case of enamel materials, she discloses the pronounced effect their use had upon the decor of Chinese porcelains.
Chinese-Islamic studies have concentrated thus far on the arts of earlier periods with less attention paid to works from the Qing Dynasty (1644-1912). This book focuses on works of Chinese-Islamic art from the late seventeenth century to the present day and bring to the reader’s attention several new areas for consideration. The book examines glass wares which were probably made for a local Chinese-Muslim clientele, illustrating a fascinating mixture of traditional Chinese and Muslim craft traditions. While the inscriptions on them can be related directly to the mosque lamps of the Arab world, their form and style of decoration is characteristically that of Han Chinese. Several contemporary Chinese Muslim artists have succeeded in developing a unique fusion of calligraphic styles from both cultures. Other works examined include enamels, porcelains, and interior painted snuff bottles, with emphasis on either those with Arabic inscriptions, or on works by Chinese Muslim artists. The book includes a chapter written by Dr. Shelly Xue and an addendum written by Dr. Riccardo Joppert. This book will appeal to scholars working in art history, religious studies, Chinese studies, Chinese history, religious history, and material culture.
With contributions from outstanding specialists in glass art and East Asian art history, this edited volume opens a cross-cultural dialogue on the hitherto little-studied medium of Chinese reverse glass painting. The first major survey of this form of East Asian art, the volume traces its long history, its local and global diffusion, and its artistic and technical characteristics. Manufactured for export to Europe and for local consumption within China, the fragile artworks studied in this volume constitute a paramount part of Chinese visual culture and attest to the intensive cultural and artistic exchange between China and the West.