Process Book for Chinese Porcelain Exhibition by Brenda Yin

CHINESE PORCELAIN EXHIBITION

TABLE OF CONTE NT S

Research

Branding

Overview Proposal

2 6

Historical Development

Exploration Identity Logo Usages

Neolithic Period to Qing Dynasty Contemporary to Present Day

9 27

Classification

Material and Color Location

32 36

Exhibition Floor Plan Exploration Floor Plan Architecture Exhibition Way Finding

Citation

43 44 50 58 61

63 64 69 70 78 90

1.1

R E S E AR C H

The content of the topic is based on the research behind the history and the story of porcelain. My intent is to design a Chinese Porcelain Exhibition and promote the exhibition as well. Porcelain is a Chinese invention and it can be used to record dynasties in Chinese history. I’m trying to introducing the Chinese porcelain into the world. First of all, the research will be the producing process of the porcelain. I have list the making process in the following chart with a picture. I choose to use the under-glaze porcelain as a example. I will also research each pattern / elements’ meaning that applied into the porcelain design. How the patterns developed. Porcelain also known as China-ware is a ceramic material composed by high temperature clay such as Kaolin, Petuntse, Quartz, and Mullite. Most of porcelain are covered by glaze or some historical patterns. Porcelain needs to heat under 1200 to 1400 degree in a kiln between a perfect heating hour. Firing process is quite important element during the production procedure. China is famous of refined porcelain, that’s why another meaning of china is “refined porcelain”. In recent times, porcelain is a luxury decoration for the royal families. After Song Dynasty, porcelain traded to western countries and became famous in the world. As a ancient object, porcelain has its reserve value. Some typical usage for porcelain are: decoration/ exhibit object, treasures of study,

Chinese Porcelain Exhibition | 1

RESEARCH

1.2

Overview Chinese porcelains show a continuous development since the moderndynastic periods and is one of the most significant forms of Chinese art. China is richly endowed with the raw materials needed for making ceramics. The first types of ceramics were made during the Palaeolithic era. Chinese Ceramics range from construction materials such as bricks and tiles, to hand-built pottery vessels fired in bonfires or kilns, to the sophisticated Chinese porcelain wares made for the imperial court. Porcelain is so identified with China that it is still called “china” in everyday English usage. For instance: “a China shelf”. Much Chinese pottery is made of earthenware, including most everyday kitchen and tablewares until modern times, but also very fine pottery, notably the sculptures of figures are especially associated with Han and Tang Dynasty emperor’s tombs. Porcelain is “a collective term comprising all ceramic ware that is white and translucent, no matter what ingredients are used to make it or to what use it is put.” The Chinese tradition recognizes two primary categories of ceramics, high-fired and low-fired. The

Chinese dictionary defined porcelain as “fine, compact pottery”. Chinese ceramic wares can also classified as being either northern or southern. Present-day China comprises two separate and geologically different land masses, brought together by the action of continental drift and forming a junction that lies between the Yellow river and the Yangtze river. The contrasting geology of the north and south led to differences in the raw materials available for making ceramics. The word “china” came from the transliteration of Changnan, which was the old name for the porcelain town of today’s Jingdezhen (Jingde Town). During the Tang Dynasty (618-907), people combined the advantages of celadon from the southern Yue kiln and white porcelains from the northern Xing kiln with the high quality earth of the Gaoling Mountain in Changnan Town to produce a kind of white & green porcelain. This porcelain was smooth and bright, and hence earned another name of artificial jade. It became famous both in China and elsewhere and was exported to Europe in large quantities since people there did not know how to make porcelain before the 18th century.

Research

1.3

Experience Some background music will be applied in the show. There will be traditional and classical Chinese music. It might be some contemporary music in the modern show room section. Secondly, Chinese screens are used to distinguish some areas in each show room. Performance art is also included in a showroom of the exhibition. There will be some artists on-site are painting the vase. The gift shop will be in the end after the show. In general, the overall mood and tone will be inspiring, positive, educational, and forward thinking.

1.4

Goal and Objective The theme of the exhibit is more cultural rather than personal by adding more cultural and traditional experience into the event. So that the direction of the

Based on the direction, my theme would be introducing and celebrating the artist culture of Chinese porcelain, as well as merging Eastern and Western culture (because I am introducing Chinese culture to Canada/ Western countries/overseas). ( Merging also can be reflecting in the architecture design as well as using material). Another part of my theme is introducing Chinese porcelain art to both Canadians (non-Chinese) and Canadian born Chinese people (the first generation in Canada), because they might not be aware of their culture and art. Chinese porcelain exhibition is also educational. The visitors will be educated with the techniques and some basic ceramic art processes. The show will also include some information boards offering more details and descriptions about porcelain art. School groups, tourists, senior groups, designer and artists will be welcome and invited to the exhibition. The exhibit is consist with for showrooms, including historical and contemporary porcelain pieces.

Chinese Porcelain Exhibition

RESEARCH

1.5

Proposal The Topic Is Based On the research behind the history or story of porcelain. Also some research each pattern / elements’ meaning that applied in the porcelain design. Research how the porcelain traded? How to promote the porcelain to the Western countries. How did it trades into different regions of the world? Researching about the updating of the colors. Traditional Chinese color is nature color, it is more towards a earth tone Color. But modern color is more bright . The city promotes each citizen to learn the process of making porcelain. The function of porcelains can be used to record dynasties in Chinese history. Vases, potteries and any other kind of porcelain is a personal interest to me. That including my history and my cultural background as well as incorporates my career into art and design. I was born in the town that is historically known for producing porcelain in China. I have access to a variety of research that can be applied to this proposal. Because of the town promote citizens to do porcelain art, so I am choosing art and design as my career. Porcelain, has a historical meaning that is dating back to the Shang Dynasty (1600- 1046 BC).

Historically, the porcelain factory are state-owned businesses. Nowadays, the factories are old and depleting, the country needs money and is selling the factories to personal business. Because of this change of ownership, there is a chance of this historical products losing it’s authentic designs or manufacturing processes. I have a personal interest in this topic as its represents my cultural background and I want to uphold the tradition of Chinese porcelain. Porcelain is not a daily living equipment. It is a piece of art wor represents the design through the patterns. It’s benefits others because everybody in the world uses porcelain. There’s two applications, it is practical and artistic, most people buy porcelain for daily usage, some other people are collection these for decoration and historical reason. How to produce authentic porcelain in Canada? Still use authentic manufacturing process or techniques. Porcelain is a part of Art market, it promote jobs, importing and exporting. There are a lot of graphic design elements used in Chinese porcelain. For example: symmetry and asymmetry in balance. Lines, color and illustration are

Research

parts of the porcelain. Updating the colors into bright colors, use traditional colors or modern colors for daily life equipment and usages. Because the traditional Chinese color is nature color, which is used earth tones. Modern color is more bright and saturated. Moreover, porcelain is a part of Art market. It promotes jobs, importing and exporting business, therefore, it stimulates economy. The Chinese porcelain Exhibition Event will help me with research the historical patterns and the meaning behind it. This will support designers with creating new updated design patterns and elements based on those historical elements design. The visitors will be aware of how colors pigments had changed over the year by year. This exhibition is more than a cultural event.

Chinese Porcelain Exhibition

2 .1

H I S TO R I CAL D E VE LO PM E NT

When the visitors first enter the exhibit, I will provide historical and cultural overview of China and the ceramic industry during Chinese period. This is focusing on educating visitors on the characteristics, materials, and art and culture that used in Chinese ceramic beginning from Neolithic period to Qing dynasty (10.000 B.C. - 1911 A.D.). Some of the contemporary to present days show pieces will be displayed in other two showrooms. I will have information board indicating historical pieces from this era/dynasty along with introducing Chinese artistic elements, designs, patterns and techniques during this period. Some porcelain artists will be invited to the exhibit painting the vases as performance art.

Chinese Porcelain Exhibition

Porcelain

(10,000 â&#x20AC;&#x201C; 2000 B.C.)

Arts and Culture

Historical Development

Characteristics

NEOLITHIC PERIOD

The first ceramics produced in China around ten or eleven thousand years ago were utilitarian wares and this early role for basic pottery has never diminished. However, long before the Bronze Age (ca. 1000 B.C.), fanciful thin-walled, painted, and burnished earthenwares, some of intricate shapes were being used as ritual vessels in various Neolithic cultures located along the Yellow and Yangtze river valleys. Some of these regional cultures include Dadiwan (5800-5400 B.C.), Yangshao (5000 B.C.-3000 B.C.), Hemudu (5000-4500 B.C.), Majiayao (3100-2700 B.C.), Longshan (3000-2000 B.C.), and Dawenkou regions (4100-2600 B.C.). Neolithic porcelains are Mostly hand built, all there red, grey, and black wares often reveal a craftsmanship and beauty exceptional for their age. Once the crafting of bronze, lacquer and precious metals were mastered, the ritual status afforded ceramics declined and ceramic shapes began to imitate those of metal almost as soon as the latter appeared. Of all aspects of the Neolithic cultures in eastern China, the use of jade made the most lasting contribution to Chinese civilization.

Mostly hand built, these red, grey, and black pigments Rough surface, rough shape which is called proto-porcelain For fundamental and survival needs

Chinese Porcelain Exhibition

Porcelain

Arts and Culture

(2,000 â&#x20AC;&#x201C; 256 B.C.)

Historical Development

Characteristics

B R O N Z E AG E

Pottery making during the Bronze Age Shang (ca. 1556-1046 B.C.) and Zhou (1046-256 B.C.) Dynasties was a large-scale handicraft industry with a marked division of labor. During Shang Dynasty, several types of ware, such as gray ware, were created, which continued the traditions from the Neolithic Period while the traditions of painted earthenware nearly disappeared entirely. The earliest high temperature fired glazes were achieved during late of Shang. Surviving examples display a glaze with a brownish ash tinge. These are the forerunners of Yue ware, a large family of early green wares known as celadon. Also important was the relationship between the bronze industry and ceramics. Throughout the Shang and Zhou Dynasties, expensive ritual bronze vessels and bells were carefully imitated in less expensive clay. These replica vessels were apparently made for burial only and they reflect a wide variety of bronze shapes and decorative styles. By late Zhou, the use of molds and stamped decoration suggests a clear division of labor and assembly line processes, which are necessary for the quality control in the mass production of ceramics.

People added tin to copper to produce a greenish alloy Civilization begin Intricate casting method Decorative patterns could be carved or stamped directly on the inner surface of the mold before it was fired The primary attribute of this frontal animal-like mask is a prominent pair of eyes, often protruding in high relief. Jade represents the highest achievement of Bronze Age material

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Porcelain

Arts and Culture

(206 B.C. â&#x20AC;&#x201C; 220 A.D.)

Historical Development

Characteristics

H A N DY N A S T Y

Han glazed wares are chiefly of two types. Northern China saw the invention, presumably for funerary purposes only, of a low-fired lead glaze, tinted bottlegreen with copper oxide, that degenerates through burial to an attractive silvery iridescence. High-fired stoneware with a thin brownish to olive glaze was still being made in Henan province, but the main center of production was already shifting to the Zhejiang region, formerly known as Yue. Yue kilns of the Eastern Han, produced a hard stoneware, often imitating the shapes of bronze vessels and decorated with impressed, bronze-like designs under a thin olive glaze. Other important provincial centers for pottery production in the Han Dynasty were Changsha which located in Hunan province and Chengdu and Chongqing located in Sichuan province. â&#x20AC;&#x153;Yue Ware Kilnâ&#x20AC;? was first made in Yue zhou in Zhejiang Province, They have a stoneware body and an olive or brownish green glaze and belong to the family of celadons, a term that looms large in any discussion of early Chinese wares. It is applied to glazes ranging from the olive of Yue to the deep green of later varieties. These colors were the result of a wash of slip containing a high proportion of iron that was put over the body before glazing. The iron interacted with the glaze during firing and colored it.

First porcelain made by firing the ceramic materials to the necessary temperature. Ceramic was preferable for artistic and decorative purposes, and it has been in high demand ever since Celadon wares (greenish porcelain) with beautiful hues were produced High-fired stoneware with a thin brownish to olive glaze Ceramic industry founded and brings economy for the dynasty, more used for funerary objects. More refined and thicker, with its low water absorbing, which brings China to a new Era.

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Porcelain

Arts and Culture

(220 â&#x20AC;&#x201C; 589 A.D.)

Historical Development

Characteristics

S I X DY N A S T I E S

The Han Empire was followed by four centuries of political disunityâ&#x20AC;&#x201D; often termed the Six Dynasties period (220 â&#x20AC;&#x201C; 589), which include the Three Kingdoms, the Jin Dynasty, the Southern and Northern Dynasties. This was the era when Buddhism began its ascendancy and the economy of the Yangtze River Valley caught up with that of the Yellow River Valley to the north. Celadon glazed porcelain stoneware termed Yue ware began to occupy an ever-increasing role in daily life, Buddhist rituals, and burials. Yue refers to all southern high- temperature fired celadon wares dating from as early as the Warring States period (480 - 221 B.C.) to the early Song Dynasty (10th century). Celadon is a descriptive term used primarily in the West to describe green glaze porcelain wares. Produced with iron oxide as the coloring agent and fired in a reduction atmosphere over 1200, Yue celadon in fact can range from yellow to grey-green, olive, blue, or blue-green, depending on its glaze compound and conditions of firing. Yue undoubtedly dominated ceramic production during this period and much of it was produced in the ancient Wu-Yue district in Zhejiang Province.

First enamel relif appear Celadon glazed porcelain became popular. Celadon is a descriptive term used primarily in the West to describe green/ ultramarine colored glaze porcelain wares. Produced with iron oxide as the coloring agent and fired in a reduction atmosphere over 1200 Yue celadon in fact can range from yellow to grey-green, olive, blue, or blue-green, depending on its glaze compound and the firing conditions.

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Porcelain

Arts and Culture

Historical Development

Characteristics

TA N G DY N A S T Y

The Tang Dynasty is famous for its energetically modeled and brightly colored tomb figures. Made from low-temperature fired earthenware and intended exclusively for burial, these charming horses, camels, and civil officials have become immensely popular. The Three northern kilns were responsible for producing majority of lead-glazed Sancai or tri-color ware that furnished the tombs of the aristocracy for more than one hundred and fifty years of the Tang Dynasty. Developed during the 17th century, the new colors were achieved simply by mixing metal oxides to a lead fluxed glaze. The oxides included copper for green and iron for amber or brownish yellow. Together with a clear, cream glaze, they provided the three basic colors but, on rare occasion, expensive cobalt oxide for blue was added to the mix. The tendency of the glaze to run slightly accounts for the splashed effects and mingling of the colors that give “Sancai” their exuberant effect. It is assumed that three-color ware was reserved for burial ware and was seldom, if ever, used in daily life. “Sancai” traveled along the Silk Road, and was later extensively used in Syrian, Cypriot, and then Italian pottery from the 13th to the middle of the 15th century. “Sancai” became a popular style in Japanese and East Asian stylized porcelain arts.

“Sancai”: Three-color pigments has introduced in Tang dynasty Ocher, yellow and green are the three major color. Ocher is a light yellow brown earth tone pigment, similar to dark red color. In recent China, red and yellow is representing royalty and luxury. “Sancai” Porcelain is reflecting the imperial gorgeous beauty. Color has more diversity, but still earth tone and nature color White porcelain had been introduced and widely distributed ,the whiteness is towards 70%.

(618 – 906 A.D.)

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Porcelain

Arts and Culture

Historical Development

Characteristics

S O N G DY N A S T Y

The Song Dynasty porcelain constitute perhaps the foremost expression of porcelain art, not only in China but also in the entire world. During the Song period, a unity of the essential components fundamental to the art such as vessel shape, potting techniques, glazing, decoration, firing processes, and aesthetic theory were all combined in a high standard of excellence. In general, the shapes of porcelains during Song Dynasty are simple and sedate. Likewise, the glazes tend to be monochromatic and subtle, a fluid, integral part of the form of the vessel they cover, with a depth of color and texture that invites the spectator to both touch and contemplate. Song aesthetic sophistication was matched by an incredible inventiveness, which led to a variety of classic wares, usually associated with a specific region of China. These included the courtpatronized five famous kilns: Ru, Guan, Ge, Jun, Ding wares; as well as the Longquan celadons. There are also the more pedestrian Cizhou ware, Qingbai ware, and the compelling varieties of Jian wares. Several of these regional ceramic wares were so valued during their day that they were used as tribute and yearly taxes to the imperial court. In terms of technical expertise and inventiveness, the Song period stands unrivaled for the quality of its ceramic ware.

The glazes tend to be monochromatic and sophisticated The glaze applied with a depth of color and texture Colorful glaze appear at that time. Glaze is a glass texture and shinning surface covering on the porcelain objects, it more aesthetically pleasing and it helps protects the color from fade out year by year. Porcelain has been widely distributed in China and other Asia countries during this era. Five major kiln ware has appear in the region of Ru, Guan, Ge, Jun and Ding ware.

(906 â&#x20AC;&#x201C; 1179 A.D.)

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Porcelain

Arts and Culture

Historical Development

Characteristics

Y UA N DY N A S T Y

The Yuan Dynasty (1271 – 1368) was a transitional age in the developmental history of China’s porcelain. During this period, Jingdezhen in Jiangxi Province became the center of porcelain production for the entire empire. Most representative of Yuan Dynasty porcelain are the underglaze blue and underglaze red wares, whose designs painted beneath the glaze in cobalt blue or copper red, replaced the more sedate monochromes of the Song Dynasty. At the same time, from the standpoint of the shape of the objects, Yuan Dynasty porcelains became thick, heavy, and characterized by great size, transforming the refinement of Song Dynasty shapes. During Yuan dynasty, China, for the first time in its long history—was completely subjugated by foreign conquerors and became part of a larger political entity, the vast Mongol empire. Ironically, during this century of alien occupation, Chinese art and culture not only survived but was reinvigorated.

Most representative of Yuan Dynasty porcelain are the underglazed blue and underglazed red wares. Especially The blue and white porcelain in a town called Jind De Zheng, which brings the town to be the imperial pottery center until present. The pigment of the color is cobalt blue, a typical Chinese color and the glaze is thick and heavy More variation of shapes and patterns, more detailed and more sophisticated Instead of the porcelain in monochromatic color during Song Dynasty, Yuan Dynasty is adding more than one color .

(1271 – 1368 A.D.)

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Porcelain

Arts and Culture

Historical Development

Characteristics

M I N G DY N A S T Y

The imperial porcelain factory was established at a town called Jingdezhen at the beginning of the Ming Dynasty, and Jingdezhen became the center of porcelain production. The imperial wares that were specially manufactured for use at court were made particularly exquisitely and were marked with the reign mark of the emperor himself. In addition to the monochromes and the underglaze blue porcelains that continued to be produced among the official wares of the Ming Dynasty, innovations appeared in those region such as Xuande, Chenghua, Hongzhi and Wanli, all of which are representatively significant in the history of the development of Ming Dynasty porcelain. Ming period exported porcelain around the world on an unprecedented scale. Aside from supplying porcelain for domestic use, the kilns at Jingdezhen town became the main production center for large-scale porcelain exports to Europe starting with the reign of the Wanli Emperor (1573-1620). By this time kaolin and pottery stone were mixed in about equal proportions. Kaolin produced wares of great strength when added to the paste; it also enhanced the whiteness of the body - a trait that became a much sought after property, especially when blueand-white wares grew in popularity.

Porcelain began export to Europe JingDeZheng Town continues to be the popular production center for blue and white porcelains. The production of Blue and white ware grew quickly in popularity. The whiteness of the blue and white ware/body had enhanced Five-colored porcelain are representatively famous during the Ming Dynasty Porcelain used for some ritualistic and religious purpose.

(1368 â&#x20AC;&#x201C; 1644 A.D.)

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Porcelain

Arts and Culture

Historical Development

Characteristics

Q I N G DY N A S T Y

The peak of Chinese ceramic production was seen in Qing Dynasty (1644-1911) which improvement was seen in almost all ceramic t ypes. The improved enamel glazes of early Qing Dynasty being fired at a higher temperature also acquired a more brilliant look than the Ming Dynasty. During the Qing Dynasty, potters began using bright colors to adorn plates and vases with meticulously painted scenes. Porcelain ceramicists continued developing five-colored ware by applying a variety of underglazed pigments to floral, landscape, and figurative scenes - a style which was highly sought-after in the West. The development of â&#x20AC;&#x153;fencaiâ&#x20AC;? enamel was one of the most significant technical contributions made to ceramics during the Qing Dynasty. Since the colors appeared softer than those of five-colored wares, fencai is also known as soft color. The new opaque colors enabled painters to blend tints to create a multitude of shades and hues. Fencai enamel was introduced in the Kangxi period, and its production reached a mature stage in the Yongzheng era. As the improved fencai enamels had a wider color range and each could be applied in a variety of tones, they could be used to depict some of the highly complicated pictorial compositions of flower and plant forms, figures, and even insects. (1644 â&#x20AC;&#x201C; 1911 A.D.)

Personalized or specially ordered porcelain art became popular in Europe and America Jingdezhen porcelain was still appreciated for its high quality and relatively lower cost Blue and white porcelain and polychrome ware were the most popular ceramic types in Qing Dynasty. The use of bright color to adorn plates and vases with meticulously paints Enamel glazes firing in a high temperature acquired brilliant look Five-colored ware applied by a variety of under-glaze pigments to floral, landscape, and figurings. Soft color was introduced by blending tints to create a multitude of shades and hues, which brings a variety of tones to porcelain wares.

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Porcelain

Arts and Culture

Historical Development

Characteristics

CONTEMPOR ARY

The first decades of the twentieth century marked the end of the insular, tradition-bound Qing empire (1644â&#x20AC;&#x201C; 1911) and the forceful entry of China into the modern age. Indeed, the massive influx of Western ideas and products constituted the most important factor defining China's culture during the twentieth century. The late Qing period witnessed the steady decline in the porcelain industry. Coupled with competition from cheap Japanese porcelains in the domestic market and European porcelains and pottery wares in the export market, the Chinese porcelain industry faced an increasingly bleak prospect. Some individuals recognised the urgent need for restructuring to revitalise the porcelain industry. An official Xiong Xiling of Hunan province. He setted up the Hunan Porcelain School in 1906 which taught courses on use of the potter's wheel, making models and moulds and porcelain painting. He recruited Jingdezhen and Japanese craftsmen to teach the skills. The craftsmen developed the under-glaze polychrome decorations. It was famous for the production of Liling underglaze polychrome decorations which won a number of prizes in the Panama and Italy Exposition. Production quality and quantity deteriorated and ceased production sometime after 1930.

Contemporary porcelain was influenced by Japanese art and new Western style Mass production of porcelain became porpular. Porcelain is no longer a symbol of Empire and Royal. Some instructional porcelain institute has been established Under-glazed polychrome decorations was developed.

(1911 â&#x20AC;&#x201C; 1949 A.D.)

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Historical Development

P R E S E N T DAY S

Chinese ceramics are highly valued and collectible. Chinese ceramics exported to Europe, the Middle East, and Southeast Asia from the 14th to the present days. The porcelain art during 21st century illustrates the extraordinary range of styles and decorative patterns, the integration of European and Middle Eastern shapes and designs, and the circulation and uses of exported objects around the world. Chinese ceramics manufacturers produced goods specifically for export to the West. The industry flourished through the early twentieth century as the market for fine porcelain expanded in Europe and the Americas. Among the Peabody Essex Museum’s founders in 1799 were sea captains and supercargoes involved in extensive trade with Asia, and many of the remarkable examples of export wares they brought back provided a foundation for the Museum’s world-renowned collection of Chinese export ceramics.

(1949 – Now)

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How porcelain wares to be classified is a important. In General, there are four ways to classify porcelain wares. Times of production. To classify or name porcelain wares is a most common approach. We have to mark out in which dynasty they were produced. For instance, they were produced in Tang, Song, Yuan, Ming or Qing Dynasties.

3 .1

CL AS S I FI CATI O N

Place of Production. Porcelain wares are also classified according to the location in where the procelain has produced. For instance, if they were produced by the “Yue Kilns—Yuè Yáo, it is the Shaoxing area of Zhejiang Province. It can be named as Yue-wares. Five Major Factors. Quality of the inner body, glaze, patterns, form and inscription are the five major factors that compose a piece of porcelain. Among them, glaze is the most crucial one. Production Kilns. There have been official kilns and civilian kilns in China. Official kilns were set up and run by the governments, their products are of exquisite quality and dignified and sumptuous appearance.

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C O LO R a n d M AT E R I A L 3.2.1

White Porcelain In Chinese it is called “Bái Cí” which translated to be white porcelain. It is a general term for porcelain wares with both a white inner body and a white glaze. It first appeared in the Northern Dynasty and matured in the Tang Dynasty. During the Tang Dynasty, the whiteness of the porcelain is toward 70 percent. The Yongle emperor of Ming Dynasty erected a white porcelain brick-faced pagoda at Nanjing, and an exceptionally smoothly glazed type of white porcelain is peculiar to his reign. Jingdezhen porcelain’s fame came to a peak in the Qing dynasty.

Classification

3.2.2

Celadon Ware In Chinese it is called “Qíng Cí” and written as “青瓷”. It is in bluish green color because of ferrous content. Owing to the poor reducing atmosphere technique, the color looked a bit yellowish or brown. However, “Qíng Cí” first appeared in the Eastern Han period and had been the main type of porcelain product in ancient China for a long time. Celadon Stoneware and Porcelain is easily one of the most popular and long-lived ceramics styles ever produced in China. The style is thought to have originated during the Five Dynasties period (907 - 960). Its Chinese name, Qingci, translates as “greenish Porcelain.” Celadon Ceramics are often described as minimalist in design, usually lacking cluttered decoration. As the skill of the potters increased over the centuries the glazing took on a magnificent jade-like appearance and texture.

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C O LO R a n d M AT E R I A L 3.2.3

Blue and White Porcelain Blue and White porelain in Chinese is pronounced as “Qing Hua Cí” and written as “青花瓷. literally it is trabslate as “Bue Flower Wares”. It is the most important variety of China’s porcelain. It was originated in the Yuan Dynasty. Its color does not easily fade and durability is longer. It used cabaltous oxide as the colorant. Patterns were directly painted onto the inner body and burnt after glaze was applied on it. Blue and White Porcelain first appeared during the Yuan dynasty (1127 - 1279) but became so pervasive during the Ming dynasty (1368 - 1644) that today ‘Blue and White’ and Ming are commonly used interchangeably.

Classification

3.2.4

Black Glazed Porcelain Accounting for 20 percent of all Song Dynasty pottery, black-glazed ware (sometimes browny-black-glazed) c o m p r i s e d a ra n g e of f u n ct i o n a l i te m s p o pu l a r among the lower middle classes. Production centres included Fujian province, whose kilns produced opulent black ware using iron rich glazes from which they derived their famous ‘hare’s - fur,’ ‘par tridge feather,’ and ‘oil - spot ’ varieties, and workshops in Jiangxi, which employed stencil, leaf, and the other complicated designs in their glazes to make their stoneware tea bowls. Black-glazed stoneware became exceptionally popular with all classes as Fujian provincial tea drinking spread throughout Chinese society.

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LO CAT ION

3.3.1

Ding Ware Ding (Wadeâ&#x20AC;&#x201C;Giles: Ting) ware was produced in Ding Xian city (modern Chu-yang), Hebei Province, located in south-west of Beijing. Already in production when the Song emperors came to power in 940, Ding ware was the finest porcelain produced in northern China at the time, and was the first to enter the palace for official imperial use. Its paste is white, generally covered with an almost transparent glaze that dripped and collected in â&#x20AC;&#x153;tearsâ&#x20AC;?, (though some Ding ware was glazed a monochrome black or brown, white was the much more common type). Overall, the Ding aesthetic relied more on its elegant shape than ostentatious decoration; designs were understated, either incised or stamped into the clay prior to glazing. Due to the way the dishes were stacked in the kiln, the edged remained unglazed, and had to be rimmed in metal such as gold or silver when used as tableware. Some hundred years later, a Southern Song era writer commented that it was this defect that led to its demise as favoured imperial ware.[30] Since the Song court lost access to these northern kilns when they fled south, it has been argued that Qingbai ware (see below) was viewed as a replacement for Ding.

Classification

3.3.2

Ru Ware Ru is the rarest of all the major Chinese ceramic wares. Until recently, it was thought that only about forty pieces survived, nearly half of them in British collections. It was the first ware made specifically for the Chinese imperial court, and was only produced for a period of about thirty years, from AD 1086 to 1127, when the Song court fled to Hangzhou in the south. Guan ware was produced in the south, perhaps as a local replacement for Ru wares. This cup-stand takes its shape from objects made of silver or lacquer. The form was used in both materials as early as the eighth century. Like nearly all Ru wares, it is undecorated and its glaze is crackled. It is believed that the crackling was not intentional.

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LO CAT ION

3.3.3

Guan Ware Guan ware is a kind of customized celadon vase with crackling. In 1127, the Song court at Kaifeng was overrun by northern invaders, who established the Jin dynasty (1115-1234). The Song court fled south to Hangzhou in Zhejiang province, where the emperor established a new palace as a temporary measure. The new imperial household at Hangzhou required a supply of ceramic vessels, and new kilns were established. The new wares produced were called Guan, ('official'). These were probably meant to imitate the Ru wares which had been favoured by the last two Northern Song emperors, whose production ceased when the court fled. It is believed that potters from the Ru kilns accompanied the court to Hangzhou to continue supplying the emperor with fine ceramics. Guan ware is one of the 'five great wares' of the Song. The others are Ru, Ding, Jun and Ge wares. Guan pieces are intentionally given a noticeable crackle, as on this vase; the glaze is applied several times, so that the glaze is actually thicker than the stoneware body.

Classification

3.3.4

Jun Ware Jun wares are counted among the 'five great wares' of China, along with Ding, Ru, Guan and Ge. A number of kilns in Henan province produced Jun wares, starting in the Tang dynasty (AD 618-906), with production hitting a high point in the Song dynasty (960-1278), and continuing until the fifteenth century. Jun Wares fall into four categories, according to their appearance: green, lavender-blue with purple splashes, like this jar, and purple-and-blue streaked. This is more or less the chronological order in which they appeared. The blue colour of the glaze is an optical illusion, resulting from a chemical reaction that occurs during the firing and cooling process. Most of the body is thickly glazed, but thinly-glazed areas appear almost white. The purple splashes were produced by adding copper oxide to the glaze. Prior to Jun wares, iron oxide had been used to create reddish colours and the use of copper was extremely rare. Most of the best Jun wares pieces were fired twice in order to get the correct glaze effects.

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LO CAT ION

3.3.5

Ge Ware Ge ware is a grayish white stoneware glaze with an intentionally closely crackled glaze, probably stemming from the Zhejiang province in the 13-15th century. Copied ever after and particularly popular in the early 20th century, then often in combination with brown unglazed molded or incised borders or applications. "Ge Ware" in Chinese literally means 'big-brother' ware due to a legend telling of two brothers working in Longquan, one made the t ypical celadon st yle ceramics, while the elder made Ge ware in his private kiln. The Ge kiln took its clay from the same site as Guan ware, which is what accounts for the difficulty in distinguishing one from the other. Overall, Ge remains somewhat elusive, but basically comprises two typesâ&#x20AC;&#x201D;one with a â&#x20AC;&#x2DC;warm rice-yellow glaze and two sets of crackles, a more prominent set of darker colour interspersed with a finer set of reddish lines. The other Ge ware is similar to Guan ware, with grayish glaze and one set of crackles.

4 .1

B R AN D I N G

According to the research, I came out all the mission statement for Chinese porcelain exhibition: To support the education of the Chinese porcelain arts in Canada as well as promote the porcelain art education in the community. To foster good relationships between the arts society in north America. Promote Chinese arts and culture, to enhance the life of the community. Cultural unification: merging Eastern and Western culture. Based on the mission statement and brand attributes, this chapter will be exploration for brand names, visual identities and some other usages related to the logo.

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EXPLORATION

4.2

Brand Attributes Merging culture

Curvaceous

Celebrating

Extension

Translation

Successful

Transitional

Practical

Educational

Social

Traditional

Inspirational

Cultural

Expansion

Artistic / aesthetic

Cooperation

Experimental

Craftsmanship

International

Human effort

Unification

Materiality

Positive

Forward Thinking

Circular

Modern merging with tradition

Branding

4.3

Brand Name Explore Cur

Nouveau

Paints

Ar ts

Pigments

Colour

Tiles

Combine

China

Ceramics

Culture

Merging

Asia Ar t

New COM-

Vase

Porcelain

WARE

POR: porcelain

Dramatic

Gloss

JING DE ZHEN

Cur vaceous

Break

Blend Trans-

CN / CA Gradual

Ceramic 5

Contra/Contro

Emergence

Controversial

Breaking

New Tradition

Deco-

Round/ unif y

Pro-

Converge

CACN

1: referring to curvaceous, which is a obvious characteristic of porcelain. 2: it is representing a controversial, porcelain is easy to break but the quality of itself is very durable. 3: represent Canada, China, and ceramic. 4: combine, communicate. 5: represents a famous town in China where produces porcelain and export it. 6: it is a cultural event that merging western and eastern culture. 7: transform, transfer, transition, translation. 8: Decoration, Art Deco. 9:Process, products, production, professional, project,productive, provide

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EXPLORATION

4.3

Brand Name Explore P

CHI CHI - CHI Multi Stain Sera

Dynast y

Gradual

Chramic

Combine

Chiramic

Durable

China - Link ChinaLain

Crossing Sur- amic Chai -ware

Cera

Chinalain

Decoware

Gloss

Chinamic

DecoNation

Mold

Chinare

CHINA- CHI

Glaze

Pro - China

Asia -Ware

Move

Porcelina

CeRamico

Sprout

Porcelana

Madein China

CeRami

Cera - China

China - China

Suramic

Branding

Compare to the some other brand names, the word “CHINAMIC” is more easy pronounced and more reasonable, because the sounds like the word “dynamic”, which is related to the brand attributes. The name is self represented china-ware, and the place of the porcelain originated as well as the historical and cultural development. The brand name simply and clearly refering the two important subject matter in the exhibition which is porcelain and China. The word “China” is not only the porcelain ware emerges and developed, it also how western coutries name the porcelain wares.

CHINAMIC

CHINA + CERAMIC

CHIRAMIC

CHINA + CERAMIC

CHERAMIC

CHINA + CERAMIC

CHINALIAN

CHINA + PORCELAIN

CHINA-LINK

CHINA + PORCELAIN + LINK

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EXPLORATION

4.4

Brand Inspiration Here I have list some examples of Toronto based architectural references based on brand. The first one is the Toronto Symphony Orchestra. And the second one is the Toronto Bata Shoe Museum. These two architecture both have the following characteristics:

The brand is reflected in the architecture Complements but not competes with the landscape Land mark of the city of Toronto The both exterior and interior could be a combination of contemporary and traditional.

Branding

The Toronto Bata Shoe Museum is also a inspiration for my exhibition design. The theme of this museum is similar to what I decide to do. The museum is focusing on one category which is shoes. The Museum celebrates the style and function of footwear in four impressive galleries. Footwear on display ranges from Chinese bound foot shoes and ancient Egyptian sandals to chestnut-crushing clogs and glamorous platforms. Over 4,500 years of history and a collection of 20th-century celebrity shoes are reflected in the semi-permanent exhibition. The logo of the museum is very obvious and traditional. The museum is a very contemporary and futuristic building.

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EXPLORATION

4.5

Logo Rough A character “ 瓷器 ” is the Chinese character of porcelain. The translation of porcelain in Chinese consist two Chinese character: “ 瓷” and “ 器 ”. Begin with manipulate the Chinese character into some simplified patterns. First of all, I try to simplified the character“ 器 ”into 4 squares. I shaded 3 squares into grey and leave one white with black strokes which is my brand identity. And I insert my brand name into the upper right side square. I stepped by adding the character “ 瓷” into the brand identity. Therefore my logo is both Chinese and English recognizable. Chinese Character of Porcelain

CHINESE PORCELAIN EXHIBITION

CHINES E PORCELAIN EXHIBITION

Branding

Here is more exploration with the Chinese character. The character itself could be a brand identity as well as representing the brand name pictorial and literal. Referring to the logo. And the architecture will consist with 4 seperated squared showroom. In order to make some hierachy, I enhanced the upper right square to the the primary part of the logo. The brand name is sitting inside the upper right square, which makes the square more primary and draws the attention from the audience. More over, I made a little chage on the upper left square by adding a diagonal strock into the corner and the focusing point of the four square is more dymamic. However, I finaly abandoned this idea, because this logo is over simplified.

CHINES E PORCELAIN EXHIBITIO N

CHINESE

PORCELAIN EXHIBITION

PORCELAIN EXHIBITIO N

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EXPLORATION

4.5

Logo Rough

CHINESE PORCELAIN EXHIBITION

Branding

This is a simplified Chinese pattern means good luck. There are more meaning beyond good luck, which is longevity, good future, and unity. The empire family wear clothes with this pattern. They also apply this pattern in some interior design elements such as carpet, corner and furnitures. This pattern is also applicable for porcelain marks/stamps.

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EXPLORATION

4.5

Logo Rough

Branding

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EXPLORATION

4.5

Logo Rough

Branding

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BRANDING

4.6

Black and White Logo The logo designed based on a traditional Chinese pattern that is refers to good luck. It is also a abstract stamp pattern that always shows in the bottom vases, potteries and many kinds of porcelain wares. It has more meaning beyond the good luck. It is also representing longevity, hope, and unification. The pattern on the right side will be the exhibition brand identity. In previous sections, I had built the brand name to be â&#x20AC;&#x153;CHINAMICâ&#x20AC;?. So that is my Logo.

C H I N A M IC CHINESE PORCELAIN EXHIBITION

Branding

CHINA MIC CHINESE PORCELAIN EXHIBITION

CH I NA M IC

CHINESE PORCELAIN EXHIBITION

CHINA M IC

CHINESE PORCELAIN EXHIBITION

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BRANDING

4.7

Color

Crimson Red

Umb er B lack

Greenish Yellow

Bamboo Green

Cobalt Ultramarine

C M Y K

16 96 83 7

C M Y K

88 92 21 23

C M Y K

33 44 100 4

C M Y K

65 30 69 3

C M Y K

89 61 0 1

R G B

194 44 37

R G B

62 43 101

R G B

180 138 27

R G B

105 144 101

R G B

34 95 169

Branding

4.7

Logo Usages

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5 .1

E XH I B ITI O N

The exhibiiton, I am focusing on the actual show pieces. There are four showrooms including three historical showroom and one contemporary showroom. The information board that explain the historical porcelain pieces is setting beside each piece porcelain. The wayfinding system is also developed, which is very simple and clean. Moreover, the architecture, the floor plan are based on the design of the brand identity.

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FLOOR PLAN

5.2

Floor Plan Exploration

A Show room of the modern contemporaneity Under-glazed Porcelain

Reception

Gift store and Cafe/Bar

Feudal Society From Qin Dynasty to Qing Dynasty (220B.C. To 1910 A.D.)

Pre-Historical Era Proto Porcelain 8000 years ago The Neolithic Age (New Stone Age )

Entrance

Exhibition

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FLOOR PLAN

5.2

Floor Plan Exploration I would like the logo to be reflected in the floor plan as well as the architecture. So I quickly abandoned those floor plans in rectangle and squares. The attributes of porcelain is curvaceous, so I want the architecture to be a dome or to be a cylinder.

Reception

Gift store

Exhibition

showroom 4

showroom 1

showroom 3

showroom 2

showroom 3

showroom 4

showroom 1

showroom 2

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FLOOR PLAN

5.2

Floor Plan Exploration

Giftshop

Restaurant

showroom 4

showroom 3

contemporary showroom

showroom 5

showroom 2

Reception

showroom 1

showroom 6

showroom 2

Washroom

showroom 1

showroom 3

showroom 4

Cafe

Exhibition

5.3

Floor Plan Final

showroom 4

showroom 3

showroom 1

showroom 2

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ARCHITECTURE

5.3

Architecture Exploration

Exhibition

showroom 4

showroom 3

showroom 1

showroom 2

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ARCHITECTURE

5.3

Architecture Exploration

showroom 3

showroom 4

showroom 6

Reception showroom 1

showroom 2

Washroom

contemporary showroom

showroom 5

Exhibition

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ARCHITECTURE

5.3

Interior Exploration

Exhibition

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ARCHITECTURE

5.4

Interior Exploration

The cylinder The curve shape

Exhibition

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ARCHITECTURE

5.5 The Exhibition

Exhibition

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ARCHITECTURE

5.5 The Exhibition

Exhibition

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ARCHITECTURE

5.5 The Exhibition

Exhibition

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ARCHITECTURE

5.5 The Exhibition

Exhibition

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ARCHITECTURE

5.5 The Exhibition

Exhibition

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ARCHITECTURE

5.6

Birdeye View

Exhibition

WAYFINDING

5.7

Wayfinding Exploration

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WAYFINDING

5.7

Way Finding Exploration

Exhibition

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WAYFINDING

5.7

Wayfinding Final

Exhibition

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WAYFINDING

5.7

Wayfinding Final

Exhibition

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CITATATION

Book

Song Dynasty Ceramics – The Ronald W. Longsdorf Collection Online version: http://www.jjlally.com/images/ uploads/JJ_Lally_2013_catalogue.pdf

The Wanli Shipwreck and its Ceramic Cargo By: Sten Sjöstrand, Sharipah Lok Lok bt., Syed Idrus, Tim Hartill et al. REVIEW BY JAN-ERIK NILSSON ON MARCH 31ST, 2010 // FILED UNDER MING PORCELAIN, SHIP WRECK CARGOES

Wanqing Minguo Qianjiang Caici (Late Qing and Early Republic Qianjiang Painting on porcelain) By: Zi Wuyuan REVIEW BY JAN-ERIK NILSSON ON APRIL 17TH, 2008 // FILED UNDER QIANJIANG / 20TH CENTURY

Ming Pottery and Porcelain by Soame Jenyns REVIEW BY JAN-ERIK NILSSON ON APRIL 5TH, 2008 // FILED UNDER MING PORCELAINHartill et al.

New Light on Chinese Yue and Longquan Wares By: Chuimei Ho (Ed.) REVIEW BY JAN-ERIK NILSSON ON APRIL 5TH, 2008 // FILED UNDER GREEN WARES, SOUTH EAST ASIA

Hidden Meanings in Chinese Art By: Terese Tse Bartholomew

Percival David Foundation of Chinese Art: A Guide to the Collection By: Rosemary E. Scott

PROVENANCE. Collectors, Dealers and Scholars in the Field of Chinese Ceramics in Britain and America By: Roy Davids & Dominic Jellinek REVIEW BY JAN-ERIK NILSSON ON JUNE 26TH, 2013 // FILED UNDER HAND AND REFERENCE BOOKS

Citation

Dating Chinese Porcelain from Facial Features and Adornments – A HANDBOOK By: Tommy Eklöf REVIEW BY JAN-ERIK NILSSON ON MARCH 11TH, 2014 // FILED UNDER CHINESE EXPORT PORCELAIN, HAND AND REFERENCE BOOKS

Famille Verte: Chinese Porcelain in Green Enamels From Groninger Museum By: Christiaan J.A. Jörg REVIEW BY JAN-ERIK NILSSON ON JUNE 27TH, 2013 // FILED UNDER CHINESE EXPORT PORCELAINFILED UNDER GREEN WARES, SOUTH EAST ASIA

SHUNZHI PORCELAIN Treasures from an Unknown Reign By: by Michael Butler, Stephen Little and Julia B. Curtis REVIEW BY JAN-ERIK NILSSON ON JUNE 27TH, 2013 // FILED UNDER TRANSITIONAL 1620-1683

Beauty’s Enchantment, Seventeenth-century Jingdezhen Porcelain from the Shanghai Museum and the Butler Collection By: Tommy Eklöf REVIEW BY JAN-ERIK NILSSON ON MARCH 11TH, 2014 // FILED UNDER CHINESE EXPORT PORCELAIN, HAND AND REFERENCE BOOKS

Imperial Porcelain of the Yongle and Xuande Periods Hong Kong Museum of Art REVIEW BY JAN-ERIK NILSSON ON APRIL 6TH, 2008 // FILED UNDER IMPERIAL CHINESE PORCELAIN

Brush and Clay. Chinese Porcelain of the Early 20th Century By: Simon Kwan REVIEW BY JAN-ERIK NILSSON ON APRIL 5TH, 2008 // FILED UNDER QIANJIANG / 20TH CENTURY

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CITATATION

Book

Percival David Foundation of Chinese Art: A Guide to the Collection By: Rosemary E. Scott REVIEW BY JAN-ERIK NILSSON ON APRIL 5TH, 2008 // FILED UNDER CHINESE PORCELAIN (IN GENERAL)

Ming Pottery and Porcelain by Soame Jenyns By: Sten Sjรถstrand, Sharipah Lok Lok bt., Syed Idrus, Tim Hartill et al. REVIEW BY JAN-ERIK NILSSON ON MARCH 31ST, 2010 // FILED UNDER MING PORCELAIN, SHIP WRECK CARGOES

New Light on Chinese Yue and Longquan Wares By: Chuimei Ho (Ed.) REVIEW BY JAN-ERIK NILSSON ON APRIL 5TH, 2008 // FILED UNDER GREEN WARES, SOUTH EAST ASIA

Ming Pottery and Porcelain by Soame Jenyns Publisher: Faber & Faber (1953) 2nd ed. London: Faber, 1988.

New Light on Chinese Yue and Longquan Wares By: Chuimei Ho (Ed.) REVIEW BY JAN-ERIK NILSSON ON APRIL 5TH, 2008 // FILED UNDER GREEN WARES, SOUTH EAST ASIA

Treasures of Chinese Export Ceramics From the Peabody Essex Museum ISBN: 9780300169751 By William R. Sargent, with an essay by Rose Kerr REVIEW BY JAN-ERIK NILSSON ON JUNE 27TH, 2013 // FILED UNDER CHINESE EXPORT PORCELAIN

Minan Blue-and-white Wares REVIEW BY JAN-ERIK NILSSON ON APRIL 5TH, 2008 // FILED UNDER BLUE AND WHITE, FUJIAN / BLANC DE CHINE

Citation

Online Source

http://www.chinaonlinemuseum.com

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CITATATION

Book

Song Dynasty Ceramics – The Ronald W. Longsdorf Collection Online version: http://www.jjlally.com/images/ uploads/JJ_Lally_2013_catalogue.pdf

The Wanli Shipwreck and its Ceramic Cargo By: Sten Sjöstrand, Sharipah Lok Lok bt., Syed Idrus, Tim Hartill et al. REVIEW BY JAN-ERIK NILSSON ON MARCH 31ST, 2010 //

Wanqing Minguo Qianjiang Caici (Late Qing and Early Republic Qianjiang Painting on porcelain) By: Zi Wuyuan

Ming Pottery and Porcelain by Soame Jenyns REVIEW BY JAN-ERIK NILSSON ON APRIL 5TH, 2008 // FILED UNDER MING PORCELAINHartill et al.

REVIEW BY JAN-ERIK NILSSON ON APRIL 17TH, 2008 // Percival David Foundation of Chinese Art: A Guide to the Collection By: Rosemary E. Scott New Light on Chinese Yue and Longquan Wares By: Chuimei Ho (Ed.) REVIEW BY JAN-ERIK NILSSON ON APRIL 5TH, 2008 // FILED UNDER GREEN WARES, SOUTH EAST ASIA

100

Hidden Meanings in Chinese Art By: Terese Tse Bartholomew

Citation

Online Source

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