Process Book for Chinese Porcelain Exhibition

CHINESE PORCELAIN EXHIBITION

Research Overview Proposal

Historical Development Neolithic Period to Qing DynastyContemporary to Present Day

ClassificationMaterial and ColorLocation

BrandingExplorationIdentityLogoUsages

ExhibitionFloor Plan ExplorationFloor PlanArchitecture ExhibitionWay Finding

Citation

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TABLE OF CONTENTS

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. Im 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, thats 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

1.1

RESEARCH

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 todays 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.

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 emperors 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

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RESEARCH


Research

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.

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.

1.3 Experience

1.4 Goal and Objective

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 its 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. Its benefits others because everybody in the world uses porcelain. Theres 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

1.5 Proposal

RESEARCH

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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.

Research


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.

2.1

HISTORICALDEVELOPMENT


(10,000 2000 B.C.)

Porcelain Arts and Culture

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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

Historical Development

NEOLITH IC PER IOD

Characteristics


(2,000 256 B.C.)


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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

BRONZE AGE


Characteristics


(206 B.C. 220 A.D.)


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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 bottle-green 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. Yue Ware Kiln 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.

HAN DYNAST Y


Characteristics


(220 589 A.D.)


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The Han Empire was followed by four centuries of political disunity often termed the Six Dynasties period (220 589), 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.

S IX DYNAST IES


Characteristics



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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%.

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.

TANG DYNAST Y

(618 906 A.D.)


Characteristics



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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 court-patronized 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 1179 A.D.)

SONG DYNAST Y


Characteristics


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The Yuan Dynasty (1271 1368) was a transitional age in the developmental history of Chinas 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 historywas 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.)

YUAN DYNAST Y


Characteristics


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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 blue-and-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.

MING DYNAST Y


Characteristics


(1368 1644 A.D.)

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The peak of Chinese ceramic production was seen in Qing Dynasty (1644-1911) which improvement was seen in almost all ceramic types. 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 fencai 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.

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.

QING DYNAST Y


Characteristics


(1644 1911 A.D.)

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The first decades of the twentieth century marked the end of the insular, tradition-bound Qing empire (16441911) 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.

CONTEMPOR ARY


Characteristics


(1911 1949 A.D.)


PRESENT DAYS


(1949 Now)

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 Museums 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 Museums world-renowned collection of Chinese export ceramics.

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.

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 KilnsYu Yo, 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.

3.1

CLASSIFICATION


In Chinese it is called Bi C 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 porcelains fame came to a peak in the Qing dynasty.

3.2.1White Porcelain

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COLOR andMATER IAL

In Chinese it is called Qng C and written as . 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,

Qng C 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.

3.2.2Celadon Ware

Classification


Blue and White porelain in Chinese is pronounced as Qing Hua C and written as . literally it is trabslate as Bue Flower Wares. It is the most important variety of Chinas 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.

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COLOR andMATER IAL

3.2.3Blue and White Porcelain

Classification

Accounting for 20 percent of all Song Dynasty pottery, black-glazed ware (sometimes browny-black-glazed) comprised a range of funct ional i tems popular among the lower middle classes. Production centres included Fujian province, whose ki lns produced opulent black ware using iron rich glazes from which they derived their famous hares - fur, partridge-feather, and oi l - 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.

3.2.4Black Glazed Porcelain


Ding (WadeGiles: 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 tears, (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.

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3.3.1Ding Ware

LOCATION

Classification

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.

3.3.2Ru 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.

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3.3.3Guan Ware

LOCATION

Classification

3.3.4Jun 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.

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 typical celadon style 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 dist inguishing one from the other. Overall, Ge remains somewhat elusive, but basically comprises two typesone with a 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.

40

3.3.5Ge Ware

LOCATION

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.

4.1

BRANDING


4.2

Brand Attributes

EXPLORATION

44

Merging culture

Celebrating

Translation

Transitional

Educational

Traditional

Cultural

Artistic / aesthetic

Experimental

International

Unification

Positive

Circular

Curvaceous

Extension

Successful

Practical

Social

Inspirational

Expansion

Cooperation

Craftsmanship

Human effort

Materiality

Forward Thinking

Modern merging with tradition

Branding

4.3

Brand Name Explore

Cur 1

Arts

Tiles

New

COM- 4

Vase

WARE

Gloss

Break 2

Blend

Trans- 7

CN / CA 3

Gradual

Paints

Colour

China

Culture

Asia Art

Ceramic

Dramatic

Curvaceous

Emergence

Breaking

Deco- 8

Pro- 9

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

Nouveau

Pigments

Combine

Ceramics

Merging 6

Porcelain

POR: porcelain

JING DE ZHEN 5

Contra/Contro

Controversial

New Tradition

Round/ unify

Converge


46

EXPLORATION

4.3

Brand Name Explore

P +

CHI

CHI -CHI

Multi -

Stain

Sera

Cera

Gloss

Mold

Glaze

Move

Sprout

CeRami

Suramic

Gradual

Combine

Durable

Crossing

Sur-amic

Chai-ware

Decoware

DecoNation

CHINA-CHI

Asia-Ware

CeRamico

Madein China

China-China

Dynasty

Chramic

Chiramic

China-Link

ChinaLain

Chinalain

Chinamic

Chinare

Pro-China

Porcelina

Porcelana

Cera-China

Branding

CHINA + CERAMIC

CHINA + CERAMIC

CHINA + CERAMIC

CHINA + PORCELAIN

CHINA + PORCELAIN

+ LINK

C H I N A M I C

C H I R A M I C

CH ERAMIC

CHINALIAN

CHINA-LINK

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.


EXPLORATION

48

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.


50

EXPLORATION

4.5

Logo Rough

Chinese Character of Porcelain

A character is the Chinese character of porcelain. The translation of porcelain in Chinese consist two Chinese character: and . Begin with manipulate the Chinese character into some simplified patterns. First of all, I try to simplified the characterinto 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 into the brand identity. Therefore my logo is both Chinese and English recognizable.


CHINESEPORCELAIN 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.

CHINESE PORCELAIN EXHIBITIO N


CHINESE PORCELAIN EXHIBITIO N


52

EXPLORATION

4.5

Logo Rough

CHINESEPORCELAIN 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.


54

EXPLORATION

4.5

Logo Rough

Branding


EXPLORATION

4.5

Logo Rough

56

Branding


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 CHINAMIC. So that is my Logo.

4.6

Black and White Logo

BRANDING

58

CHINAMIC


Branding

CH INAM IC

CH INAM IC




CHINAMIC


4.7

Color

BRANDING

60

C M Y K

C M Y K

Crimson Red Umber Black

RGB

RGB

1696837

88922123

1944437

6243101

C M Y K

Greenish Yellow

RGB

3344100

4

18013827

C M Y K

C M Y K

Bamboo GreenCobalt

Ultramarine

RGB

RGB

6530693

896101

105144101

3495169

Branding


4.7

Logo Usages

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.

5.1

EXHIBITION


5.2

Floor Plan Exploration

FLOOR PLAN

64

Entrance

Pre-Historical EraProto Porcelain8000 years agoThe Neolithic Age(New Stone Age )

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

A Show room of the modern contemporaneity Under-glazed Porcelain

Gift store and Cafe/Bar

Reception

Exhibition


5.2


FLOOR PLAN

66

Rec

epti

on

Gift store

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.

Exhibition


showroom 4

showroom 1

showroom 3

showroom 2

showroom 4

showroom 1

showroom 3

showroom 2

5.2


FLOOR PLAN

68

GiftshopRestaurant

Cafe

showroom 4

showroom 1

showroom 3

showroom 2Reception

contemporary showroom

Washroom

Washroom

showroom 4

showroom 1

showroom 5 showroom 6

showroom 3

showroom 2

Exhibition


5.3

Floor Plan Final

showroom 4

showroom 1

showroom 3

showroom 2

5.3

Architecture Exploration

ARCHITECTURE

70

Exhibition


showroom 4

showroom 1

showroom 3

showroom 2

72

ARCHITECTURE

5.3

Architecture Exploration

Reception

contemporary showroom

Washroom

Washroom

showroom 4

showroom 1

showroom 5 showroom 6

showroom 3

showroom 2

Exhibition


74

ARCHITECTURE

5.3

Interior Exploration


Exhibition

76

ARCHITECTURE

5.4

Interior Exploration

The cylinder

The curve shape


Exhibition

78

ARCHITECTURE

5.5The Exhibition


Exhibition

80

ARCHITECTURE

5.5The Exhibition


Exhibition

82

ARCHITECTURE

5.5The Exhibition


Exhibition

84

ARCHITECTURE

5.5The Exhibition


Exhibition

86

ARCHITECTURE

5.5The Exhibition


Exhibition

88

ARCHITECTURE

5.6

Birdeye View


Exhibition

5.7

Wayfinding Exploration

WAYFINDING

90

WAYFINDING

5.7

Way Finding Exploration


Exhibition

92

WAYFINDING

5.7

Wayfinding Final


Exhibition

94

WAYFINDING

5.7

Wayfinding Final


Exhibition

96

CITATATION

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

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

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

The Wanli Shipwreck and its Ceramic Cargo By: Sten Sjstrand, 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

Ming Pottery and Porcelainby Soame JenynsREVIEW BY JAN-ERIK NILSSON ON APRIL 5TH, 2008 // FILED UNDER MING PORCELAINHartill et al.

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

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

Book


Citation

Dating Chinese Porcelain from Facial Features and Adornments A HANDBOOK By: Tommy EklfREVIEW 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. JrgREVIEW 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 ReignBy: by Michael Butler, Stephen Little and Julia B. CurtisREVIEW BY JAN-ERIK NILSSON ON JUNE 27TH, 2013 // FILED UNDER TRANSITIONAL 1620-1683

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

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

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

98

CITATATION

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



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

Ming Pottery and Porcelainby Soame JenynsBy: Sten Sjstrand, 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

Ming Pottery and Porcelainby Soame JenynsPublisher: Faber & Faber (1953)2nd ed. London: Faber, 1988.

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

Book

Online Source


Citation

http://arts.cultural-china.com/2007-2014 cultural-china.com. All rights reserved.

http://www.chinahighlights.com/travelguide/culture/porcelain-history.htm 1998 China Highlights China Highlights, No.11 Binjiang Road, Guilin, China 541002

http://www.chinaonlinemuseum.com

http://www.metmuseum.org/toah/hd/ming/hd_ming.htmHEILBRUNN TIMELINE OF ART HISTORY 20002015 The Metropolitan Museum of Art

http://www.britishmuseum.org/ Trustees of the British Museum

100

CITATATION

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

The Wanli Shipwreck and its Ceramic Cargo By: Sten Sjstrand, Sharipah Lok Lok bt., Syed Idrus, Tim Hartill et al.

REVIEW BY JAN-ERIK NILSSON ON MARCH 31ST, 2010 //

Ming Pottery and Porcelainby Soame JenynsREVIEW BY JAN-ERIK NILSSON ON APRIL 5TH, 2008 // FILED UNDER MING PORCELAINHartill et al.


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

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 //

Hidden Meanings in Chinese Art By: Terese Tse Bartholomew

Book

http://arts.cultural-china.com/2007-2014 cultural-china.com. All rights reserved.

http://www.chinaonlinemuseum.com

http://www.metmuseum.org/toah/hd/ming/hd_ming.htmHEILBRUNN TIMELINE OF ART HISTORY 20002015 The Metropolitan Museum of Art

http://www.britishmuseum.org/ Trustees of the British Museum

http://www.chinahighlights.com/travelguide/culture/porcelain-history.htm 1998 China Highlights China Highlights, No.11 Binjiang Road, Guilin, China 541002

Online Source


Citation

Documents

Process Book for Chinese Porcelain Exhibition