K.S. Lo, et al., The Stonewares of Yixing: from the Ming period to the Present Day, (London, 1986).
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Ultimately our work should bring together geochemical, radiometric and vessel form information on Khmer stonewares and their kiln complexes.
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Leaver, page 17. :The brown stonewares, the nicely formed functional breadcrocks, teapots, fruit platters and teacups and saucers … made his a household name among the 1970s cognoscenti. Victor Greenaway was his apprentice 1969–73.
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The porcelain from Thailand were consisted of a large bowl with a fish design drawn in iron pigment inside made in the Sukhothai kiln. As for the stonewares, it was a black brown glazed four-eared jar and was manufactured in Noi River kiln.
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Earth, Fire and Water: Chinese Ceramic Technology. Percival David Foundation of Chinese Art, University of London. . so doing without stoneware, which in Chinese tradition is mostly grouped with (and translated as) porcelain. Terms such as "" or "near-porcelain" may be used for stonewares with porcelain-like characteristics.
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Rendell, Mike (2015). "The Georgians in 100 Facts". p. 40. Amberley Publishing Limited Wedgwood's company never made porcelain during his lifetime, but specialized in fine earthenwares and stonewares that had many of the same qualities, but were considerably cheaper. He made great efforts to keep the designs of his wares in tune with current fashion.
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Wares include Kraak porcelain, Swatow ware, Transitional porcelain, armorial porcelain, Canton porcelain, and Chinese Imari, which were all largely or entirely made for export, as well as other types that were also sold to the domestic market. This group included Yixing stonewares, Blanc de Chine, blue and white porcelain, and famille verte, noire, jaune and rose. Chinese export porcelain was generally decorative, but without the symbolic significance of wares produced for the Chinese home market.
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The porcelain from Northern Vietnam was also blue-and-white ware which were manufactured in Chu Dau kiln. These were consisted of bowls, dishes, pots, jarlets, covered boxes and lastly water droppers. Meanwhile, the porcelain and stonewares from Central Vietnam were speculated to be produced on the Go Sanh kiln in Binh Dinh Province in Central Vietnam. These consisted mainly of celadon saucers and dishes with an unglazed ring portion inside it.
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The main Wedgwood motifs in jasperware, and the other dry-bodied stonewares, were decorative designs that were highly influenced by the ancient cultures being studied and rediscovered at that time, especially as Great Britain was expanding its empire. Many motifs were taken from ancient mythologies: Roman, Greek and Egyptian. Meanwhile, archaeological fever caught the imagination of many artists. Nothing could have been more suitable to satisfy this huge business demand than to produce replicas of ancient artefacts.
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Hannah Barlow in Lambeth. Royal Doulton is an English ceramic manufacturing company dating from 1815. Operating originally in Vauxhall, London, later moving to Lambeth, in 1882 it opened a factory in Burslem, Stoke-on-Trent, in the centre of English pottery. From the start the backbone of the business was a wide range of utilitarian wares, mostly stonewares, including storage jars, tankards and the like, and later extending to pipes for drains, lavatories and other bathroom ceramics.
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III in which year he was also joined by his brother William and the new partnership named E & W Bennett.Beem and Beem, 2012 They soon added new lines in majolica and coloured stonewares, and in 1853 one of the company's most notable early accomplishments was the first industrial production of porcelain in America, a line of jugs of biscuit porcelain not unlike Parian although with some glazing and colored decoration.Beem and Beem, 2012; Campbell; Schneider, p.
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Among the types of Chinese pottery found at the site are qingbai and Ding porcelains and Yue and Yao stonewares. Objects from ten different Chinese kiln sites have been identified: Changsha, Dingzhou, Ganzhou, Jianyang, Jingdezhen, Jizhou, Tong'an, Xicun, Yaozhou and Yue. The earliest Chinese pieces were fired in the late ninth century and the latest in the early twelfth, but eleventh-century firings predominate. The glazed earthenware of Sharma comes mostly in three sgraffiato styles imported from Persia.
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Jun-style glaze, 19th century Shiwan ware (; Cantonese Jyutping: Sek6 waan1 jiu4) is Chinese pottery from kilns located in the Shiwanzhen Subdistrict of the provincial city of Foshan, near Guangzhou, Guangdong. It forms part of a larger group of wares from the coastal region known collectively as "Canton stonewares".Valenstein, 273 The hilly, wooded, area provided slopes for dragon kilns to run up, and fuel for them,British Museum, meiping PDF,A.75(expand comments) and was near major ports.
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As a rough guide, modern earthenwares are normally fired in a kiln at temperatures in the range of about 1,000°C (1,830 °F) to ; stonewares at between about to ; and porcelains at between about to . Historically, reaching high temperatures was a long- lasting challenge, and temperatures somewhat below these were used for a long time. Earthenware can be fired effectively as low as 600°C, achievable in primitive pit firing, but to was more typical.Medley, Margaret, The Chinese Potter: A Practical History of Chinese Ceramics, p.
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Josiah Wedgwood was both a friend and a commercial rival of John Turner the elder, the first notable potter in the family. The Turner factory, like Wedgwood, mostly made fine earthenwares and stonewares but, briefly and not very successfully, made hard-paste porcelain themselves. John Turner the Elder was also an original partner in the New Hall porcelain factory, though not associated with the factory for long. Many of the most interesting wares from the Turner factory are unglazed, in caneware, jasperware and basalt ware.
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Lo was also a well-known expert and collector of Chinese ceramics since the 1950s. He had donated his entire collection of 500 pieces of Chinese teaware to the Hong Kong Museum of Art, which later became the collections of the new Museum of Tea Ware. He also played a leading role in turning Hong Kong into a global market hub for Chinese paintings, calligraphy and objets d'art. He was also invited to write a book, The Stonewares of Yixing which talks about the Yixing teaware.
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The 1846–1860 cholera pandemic, and the tracing by Dr John Snow of the 1854 Broad Street cholera outbreak in London to a water supply contaminated by sewage led to a huge programme of improving sewage disposal, and other forms of drainage using pipes. These and an expanding range of builder's and sanitary wares remained a bedrock of Doulton into the 20th century. Metal plumbing items such as taps and cast iron baths were added to the range later. Kitchen stonewares such as storage jars and mixing bowls, and laboratory and manufacturing ceramics, were other long-standing specialities.
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Wares included garnitures of vases, dishes, teawares, ewers, and other useful wares along with figurines, animals and birds. Blanc de Chine porcelains and Yixing stonewares arriving in Europe and gave inspiration to many European potters. The massive increase in imports allowed purchasers to amass large collections, which were often displayed in dedicated rooms or purpose-built structures. The Trianon de Porcelaine built between 1670 and 1672 was a Baroque pavilion constructed to display Louis XIV's collection of blue-and-white porcelain, set against French blue-and-white faience tiles both on the interior and exterior of the building.
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1775, "in a faintly Japanese style". Although all the standard types of colour decoration were used at times (underglaze painting, overglaze enamels and transfer printing), a high proportion of the earlier wares were not decorated.Godden, 192; Hughes, 262 Other decorative techniques used include "engine-turning", where the body is covered with coloured slip, which is then selectively removed to create a pattern,Godden, 195 and (in the early 19th century) "resist lustre" where parts of the piece are covered before a lustreware glaze is applied.Godden, 197 Some black "basalt" stonewares were produced, mostly teawares and after 1790.
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Yixing teapot, Qing dynasty, c. 1800–1835, stoneware Pottery classified as stoneware in the West is usually regarded as porcelain in Chinese terms, where a stoneware group is not recognised, and so the definition of porcelain is rather different, covering all vitrified high- fired wares. Terms such as "" and "near-porcelain" are often used to reflect this, and cover wares that in Western terms lie on the border of stoneware and porcelain. High-fired stonewares were numerous from very early on, and included many high-prestige wares, including those for imperial use, as well as great quantities of everyday utilitarian pots.
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"Waratah" pattern, after 1922, a local flower to appeal to the Australian market. In 1901 King Edward VII awarded the Burslem factory the Royal Warrant, allowing that part of the business to adopt new markings and a new name, Royal Doulton. The bathroom ceramics and other utilitarian wares initially continued to be branded Doulton and Co. The company added products during the first half of the 20th century, and the tableware and decorative wares tended to shift from stonewares to high-quality bone china. Figurines in fashionable styles became increasingly important, for example a series of young girls in bathing costumes, in a mild version of Art Deco.
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Overglaze painting, usually called "enamels", was widely used in the popular Cizhou ware stonewares, and was sometimes experimented with by kilns producing for the court, but not until the 15th century, under the Ming, was the doucai technique used for imperial wares. This combined underglaze blue outlines with overglaze enamels in further colours.Valenstein, 153-157 The wucai technique was a similar combination, with underglaze blue used more widely for highlights.Pierson, Stacey, From Object to Concept: Global Consumption and the Transformation of Ming Porcelain, 2013, Hong Kong University Press, , 9789888139835, google books Two-colour wares, using underglaze blue and an overglaze colour, usually red, also produced very fine results.
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Most raku ware, where the final decoration is partly random, is in this tradition.Smith, Harris, & Clark, 116–120, 124–126, 130–133 The other tradition is of highly finished and brightly coloured factory wares, mostly in porcelain, with complex and balanced decoration, which develops Chinese porcelain styles in a distinct way.Smith, Harris, & Clark, 163–177 A third tradition, of simple but perfectly formed and glazed stonewares, also relates more closely to both Chinese and Korean traditions. In the 16th century, a number of styles of traditional utilitarian rustic wares then in production became admired for their simplicity, and their forms have often been kept in production to the present day for a collectors market.
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In lower-fired pottery, the changes include sintering, the fusing together of coarser particles in the body at their points of contact with each other. In the case of porcelain, where different materials and higher firing-temperatures are used, the physical, chemical and mineralogical properties of the constituents in the body are greatly altered. In all cases, the reason for firing is to permanently harden the wares and the firing regime must be appropriate to the materials used to make them. As a rough guide, modern earthenwares are normally fired at temperatures in the range of about 1,000°C (1,830 °F) to ; stonewares at between about to ; and porcelains at between about to .
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Museum of Ceramics (Muzeum Ceramiki) The defeat of Germany in World War II and the annexation of Silesia by Poland, with the subsequent expulsion of the German population, threatened to end the Bunzlauer ceramic tradition, but it managed to survive in the shops established by displaced potters in the ceramic centers of West Germany, where Bunzlauer style pottery continued to be produced, long celebrated for their native earthenwares or salt-glazed and cobalt-decorated stonewares. Gerhard Seiler from Naumburg am Queis relocated to Leutershausen in Bavaria. Paul Vogt, also from Naumburg settled in Pang near Rosenheim. Max and Wilhelm Werner from Tillendorf initially moved to Höhr-Grenzhausen in the Westerwald range before setting up a shop in nearby Hilgert in 1960.
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By 1690 there was a rival stoneware operation in Fulham, run by the Dutch Elers brothers, who after a few years went off to become important early figures in transforming the Staffordshire pottery industry.V&A; page, "Teapot" by the Elers; Elliot, throughout In its first years it was a pioneering force in English pottery in several respects, in particular salt-glazed waresElliot, 23, 27–28 (conclusion), and preceding and figures.Wood, 84, & the V&A; pages on their examples After Dwight's death in 1703 the pottery made less ambitious stonewares until a revival in the later 19th century. It operated on the same site until 1956,Wood, 84; Bergesen, 71 and then until at least the 1980s as a base for studio pottery to be fired.
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Godden, 149; Hughes, 252 From 1853 to 1902 its wares were marked Doulton & Co., then from 1902, when a royal warrant was given, Royal Doulton. It always made some more decorative wares, initially still mostly stoneware, and from the 1860s the firm made considerable efforts to get a reputation for design, in which it was largely successful, as one of the first British makers of art pottery.Godden, 149 Initially this was done through artistic stonewares made in Lambeth, but in 1882 the firm bought a Burslem factory, which was mainly intended for making bone china tablewares and decorative items. It was a latecomer in this market compared to firms such as Royal Crown Derby, Royal Worcester, Wedgwood, Spode and Mintons, but made a place for itself in the later 19th century.
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It was rapidly successful and was soon one of the largest manufacturers of Staffordshire pottery, "a firm that has done more to spread the knowledge and enhance the reputation of British ceramic art than any other manufacturer",Godden (1992), 337 exporting across Europe as far as Russia, and to the Americas. It was especially successful at producing fine earthenware and stonewares that were accepted as equivalent in quality to porcelain (which Wedgwood only made later) but were considerably cheaper.Gooden (1992), 337-338; Dawson, 202-203; Hughes, 308-311 Wedgwood is especially associated with the "dry-bodied" (unglazed) stoneware Jasperware in contrasting colours, and in particular that in "Wedgwood blue" and white, always much the most popular colours, though there are several others. Jasperware has been made continuously by the firm since 1775, and also much imitated.
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Miriam Stark has worked with colleagues Peter Grave, Lisa Kealhofer and Ea Darith since 2012 on the Khmer Production and Exchange Project, whose goal is to understand Angkorian political economy through studying the production and distribution of Khmer stoneware ceramics. Working with colleagues across projects to develop a robust sample of kiln- based and consumption-site stonewares that establishes a set of geochemical signatures for Angkorian kilns (production centers) against which to compare geochemical patterning in geographically discrete areas of the Angkorian state (consumption centers. Currently identified Angkorian kilns cluster in the hinterland of Angkor, in and around Kulen, in NE Thailand (in provinces just north of the Dangrek Mountains), and in the Phnom Penh region. Scholars agree that most major Angkorian provincial temples probably had associated kilns, from long-used ritual localities like Sambor Prei Kuk and major provincial centers like Phimai to secondary provincial temples.
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Or whether violent wars had been waged between old inhabitants and new colonizers is uncertain too, incontrovertible proofs being wanting. Out of this Bornean Tribe of the Dumangsil and Balkasusa Clan was born the ancestry of Lipa and as later on their descendants spread out towards Laguna de Bay and Bicol Peninsula. The remains excavated from their ancient settlements in Butong, Taal, Calatagan Bay Area and Balayan attest to the fact of their presence in the said site at least in the latter part of the 12th century down to the coming of Goiti and Legaspi in Batangas in 1570. The flourishing trade relations between these early Batangueños with a number of Chinese merchants prior to the Spanish conquest explained the presence of hundreds of Chinese wares from potteries to stonewares and vases of Song dynasty period to the latter part of the 16th century, in the burial grounds at Calatagan sites of Pulung Bakaw, Kay Tomas, Pinagpatayan I and II at Butong, Taal Batangas.
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Small Guan bowl on legs (some 3 inches across), with pronounced type 3 glaze crackle Mallet-shaped vase, Guan ware, 12th–13th century, with type 1 crackle Guan ware or Kuan ware () is one of the Five Famous Kilns of Song Dynasty China, making high-status stonewares, whose surface decoration relied heavily on crackled glaze, randomly crazed by a network of crack lines in the glaze. Guan means "official" in Chinese and Guan ware was, most unusually for Chinese ceramics of the period, the result of an imperial initiative resulting from the loss of access to northern kilns such as those making Ru ware and Jun ware after the invasion of the north and the flight of a Song prince to establish the Southern Song at a new capital at Hangzhou, Zhejiang province. It is usually assumed that potters from the northern imperial kilns followed the court south to man the new kilns.Vainker, 105 In some Asian sources "Guan ware" may be used in the literally translated sense to cover any "official" wares ordered by the Imperial court.
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