Composition/structure and lacquering craft analysis of Wenzhou Song dynasty lacquerware

2016 ◽  
Vol 8 (35) ◽  
pp. 6529-6536 ◽  
Author(s):  
Xiaoyuan Li ◽  
Xianjun Wu ◽  
Yang Zhao ◽  
Qiaoyan Wen ◽  
Zhongbu Xie ◽  
...  
Keyword(s):  
Analytical Methods ◽  
Song Dynasty ◽  
Yuan Dynasty ◽  
The Song Dynasty ◽  
Composition Structure ◽  
The Yuan Dynasty

Several archaeological lacquerware samples tracing back to the Song dynasty (A.D. 960–A.D. 1279) and an ancient lacquer box remnant dating from the Yuan dynasty (A.D. 1271–A.D. 1368) were analyzed by various analytical methods in this article.

scholarly journals Voices from Afar: Yuan Diplomacy between Ritual and Practice

2020 ◽  
Vol 17 (2) ◽  
pp. 271-285
Author(s):  
Francesca Fiaschetti
Keyword(s):  
Southeast Asia ◽  
Song Dynasty ◽  
Yuan Dynasty ◽  
The Song Dynasty ◽  
North Vietnam ◽  
The Yuan Dynasty

Abstract In their expansion is Southeast Asia, the medieval Mongols encountered many challenges, and among them there was the necessity to legitimize themself in the eyes of those polities which had long established relations with the Song dynasty. In building his authority the founder of the Yuan dynasty, Qubilai Qa’an, shaped his diplomacy capitalizing on the skills of his non-Mongol subjects. From Confucian scholars to state officials, envoys and generals, many individuals participated in the Yuan diplomatic machine, thus finding their own justification to belong to the Yuan imperial project. The present paper sketches the narratives and rhetoric used by some of these individuals in the case of the Mongols long and challenging interaction with the neighboring kingdom of Đại Việt, in North Vietnam.

scholarly journals True Identity

2018 ◽  
Vol 66 (2) ◽  
pp. 100-119
Author(s):  
Ching-Ling Wang
Keyword(s):  
Fourteenth Century ◽  
Twelfth Century ◽  
Song Dynasty ◽  
East Asian ◽  
Yuan Dynasty ◽  
The Song Dynasty ◽  
Fundamental Research ◽  
Buddhist Painting ◽  
Image Production ◽  
The Yuan Dynasty

In the Rijksmuseum collection there is a painting depicting the Buddhist deity Water-Moon Avalokite´svara. The identification and dating of this painting are complex. It had long been considered to be a Chinese work of the Song Dynasty and dated to the twelfth century; later it was regarded as a Chinese work from the Yuan Dynasty and dated to the fourteenth century; more recently opinion shifted and it was seen as a Korean Buddhist painting from the Goryeo Dynasty and dated to the first half of the fourteenth century. This essay aims to serve as a fundamental research by examining the iconography and style of this painting in detail. The author argues on the basis of style that this painting is a late fourteenth-century Japanese hybrid creation that combines both Chinese iconography and the colouring of Chinese Song Buddhist painting with decorative elements of Korean Goryeo Buddhist painting. In light of the recent research into the inter-regional connection of East Asian Buddhist image production, the Rijksmuseum Water-Moon Avalokite´svaraprovides an example of the artistic interactions between China, Korea and Japan in the fourteenth century.

Analysis on the Cloud Shoulder Pattern of the Yuan Dynasty Fabrics

2013 ◽  
Vol 821-822 ◽  
pp. 823-828
Author(s):  
Ke Yan Liu
Keyword(s):  
Song Dynasty ◽  
Tang Dynasty ◽  
Han Dynasty ◽  
Yuan Dynasty ◽  
The Song Dynasty ◽  
The Tang Dynasty ◽  
The Yuan Dynasty ◽  
Cloud Pattern ◽  
Usual Pattern ◽  
White Porcelain

The cloud shoulder pattern with four weeping clouds shape commonly used for decorating the parts from collar to shoulder for clothing and shoulder part for blue and white porcelain can be traced back to persimmon calyx pattern of the Han Dynasty. In the Tang Dynasty, the pattern of a four-petal leaf as first went for pattern details change and later advanced into cross flower, developing into the usual pattern decorated on fabrics. Till the Song dynasty, persimmon calyx pattern combined with Ruyi cloud (auspicious cloud) and was applied to architectures. However, the Yuan Dynasty’s shoulder cloud pattern with four weeping clouds shape used for decorating shoulders of clothing or porcelain was generated from combination of Ruyi cloud persimmon calyx pattern and “Bo” which was used to keep necks from wind and sand for Nomads in northern part of the country and developed into the cloud shoulder pattern focusing on decorating the shoulder of clothing and widely was used for nobles’ clothing. Gradually, the pattern was used for decorating crafts such as blue and white porcelain and gold and silver ware in the Yuan Dynasty. The cloud shoulder pattern spread from nobles to folks and was popular for decoration.

scholarly journals A Study of the Intercourse between Zhang Yu and Yu Ji---the Calligrapher in Yuan Dynasty

2021 ◽  
Vol 3 (2) ◽  
pp. 5
Author(s):  
Yang Song
Keyword(s):  
Song Dynasty ◽  
Yuan Dynasty ◽  
Chinese History ◽  
Artistic Style ◽  
The Status ◽  
External Causes ◽  
And Function ◽  
The Yuan Dynasty ◽  
First Time ◽  
Zhao Mengfu

In the Yuan Dynasty, the minority nationalities was entered the Central Plain for the first time in Chinese history. During this period, although the status of Chinese people and intellectuals was low, their ideological control was loose, thus forming a unique literary style. The rapid promotion of the status of the humanities such as painting, calligraphy and literature in the life of the scholars brought about a brand-new attitude towards life, especially in the late Yuan Dynasty, the humanities taste and the artistic orientation showed many new changes. And the development of literature, calligraphy and painting in the Song Dynasty, as well as the establishment of the regime in the Yuan Dynasty all accelerated this process.. Facing the setbacks brought by the Mongolian yuan rule, some intellectuals turned to create an atmosphere through some group activities of calligraphy and painting in this period, and literature and art were also given a higher status. As a famous calligrapher in the middle and late Yuan Dynasty, Zhang Yu was also an influential Taoist and poet. On the basis of studying Zhang Yu's calligraphy art, this paper analyzes his social intercourse and its influence on his calligraphy thoughts and artistic style. Especially in calligraphy, he was first taught by Zhao Mengfu, and then learned from Huaisu and Zhang Xu, forming a handsome and free style, which is very valuable. In addition, he made many friends all his life. After becoming a monk, he traveled to various famous mountains in the south of the Yangtze River and made friends with famous people. Therefore,  studying the intercourse between Zhang Yu and yu Ji can restore the real situation of the Literati's communication in the middle and late yuan dynasty, understand the multiple Zhang Yu's accomplishments of Taoism, poet and calligrapher, and better understand the relationship between Zhang Yu and Yu Ji,  It can also learn about his experience of learning calligraphy and the internal and external causes of the formation of his calligraphy style, and the influence and function of Mingxi Literati's elegant and Yuji's intercourse on the formation of his artistic style.

An Investigation on Copper Red Glazes from Jingdezhen of the Ming and Qing Dynasties

1990 ◽  
Vol 185 ◽  
Author(s):  
Li Guozhen ◽  
Liu Zeyong ◽  
Guo Yengyi
Keyword(s):  
Ming Dynasty ◽  
Song Dynasty ◽  
Tang Dynasty ◽  
Yuan Dynasty ◽  
X Ray Diffraction ◽  
The Qing Dynasty ◽  
The Song Dynasty ◽  
Ming And Qing Dynasties ◽  
High Regard ◽  
Sophisticated Technology

AbstractCopper red glazes made at the pottery center of Jingdezhen during the Ming and Qing dynasties are one of the most famous and precious porcelain products of China. They were based on earlier technology developed in the Tong-guan kiln in Tang dynasty and on the Ru and Jun wares of the Song dynasty. The earliest copper red glazes appeared as early as the late Yuan dynasty. The dazzlingly beautiful altar red and ruby red products were created at Jingdezhen in the Yongle and Xuande periods of the Ming dynasty. Other copper reds created at Jingdezhen were the Longyao red of the Kangxi period and the imitation Jun, flambe amd others of Yongzhen and Qianlong periods of the Qing dynasty. Chinese copper red glazes have been held in high regard throughout the world, and many have wondered at their complex and sophisticated technology. Through analysis, we unlock some of the technical secrets of these famous wares in order that more people may appreciate the technical excellence underlying the visual appearances of these wares and that these glazes may be replicated better by contemporary ceramic factories in Jingdezhen.Seven examples of Jingdezhen copper red glazes were analyzed by scanning electron microscopy, x-ray diffraction, refiring tests and microprobe analysis to determine the compositions, microstructures and firing temperatures.

Materials of the Chinese official chronicles of the imperial dynasties Song and Yuan on the time of the massacre of the Alan warriors during the Mongol conquest of Southern China

2020 ◽  
pp. 31-38
Author(s):  
Eduard V. Kaziev
Keyword(s):  
Song Dynasty ◽  
Southern China ◽  
Historical Analysis ◽  
Yuan Dynasty ◽  
Inductive Method ◽  
Southern Chinese ◽  
Historical Episode ◽  
History Of ◽  
Chinese Official ◽  
The Yuan Dynasty

Based on the information presented in the official chronicles of the Chinese imperial dynasties Song and Yuan, the author discusses the issue of the time of the massacre of the Alan warriors in Mongol service, that occurred during their occupation of the southern Chinese city of Zhenchao. The study of this issue seems relevant, since the information of the mentioned Chinese official chronicles, in the same way conveying the general plot of this event, diverges in the designation of its time, attributing it to different reign years of the first emperor of the Yuan dynasty Kublai (Shi-zu) and to one of the years of the sixteenth emperor of the Song Dynasty Zhao Xian (Gong of Song). The materials for the study were the original texts of the official “History of Song [Dynasty]” and the “History of Yuan [Dynasty]” as well as some other Chinese written sources. The study introduces new information from sources about this event, which have not previously been translated into Russian. A brief historiographic review of this issue is given. The purpose of the study is to definite the time of the massacre of Alan warriors in Southern China. In the course of the study the inductive method, the method of comparative historical analysis, systemic chronological and retrospective analytical methods were applied. It was found that the information about the time of the event in question contained in various sections of the “History of the Yuan [Dynasty]” is erroneous, while the similar information about the time of the event in question contained in the “History of Song [Dynasty]” is correct, as it was indicated by P. Pelliot. The translation of the latter information into the modern chronology system allows to determine the time of this historical episode on April 28, 1275.

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