Early Chinese Art: Difference between revisions
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[https://www.sciencedirect.com/science/article/pii/S2667136023000018 by Nigel Wood 12/22 ScienceDirect] | [https://www.sciencedirect.com/science/article/pii/S2667136023000018 by Nigel Wood 12/22 ScienceDirect] | ||
Two papers examining Ming cloisonné enamels on metal and Chinese fahua glazes on ceramics were published in 1989. The analytical work was carried out at the Research Laboratory for Archaeology and the History of Art at Oxford University, and all the cloisonné vessels analysed were dated to the later Ming Dynasty (Ming: 1368–1644). Various parallels and differences emerged from the studies, particularly regarding the extensive use of potassium oxide as a glass network modifier in both traditions. | Two papers examining Ming cloisonné enamels on metal and Chinese fahua glazes on ceramics were published in 1989. The analytical work was carried out at the Research Laboratory for Archaeology and the History of Art at Oxford University, and all the cloisonné vessels analysed were dated to the later Ming Dynasty (Ming: 1368–1644). Various parallels and differences emerged from the studies, particularly regarding the extensive use of potassium oxide as a glass network modifier in both traditions. | ||
=====On China's China===== | |||
[https://www.pbs.org/wgbh/nova/sultan/china.html by NOVA ONLINE] | |||
For many centuries China held the secret to making the world's finest porcelain—white, translucent ceramic ware of such high quality that it produced a musical tone when struck. The envy of potters and collectors in Europe and the Middle East, Chinese blue-and-white porcelain owed its excellence to the fine clay available to the Chinese as well as to their high-temperature kilns and the cobalt pigment they used to produce the pieces' brilliant hues. | |||
