Porcelain and Glass

choi

本文通过一路BBS站telnet客户端发布

Florian Knothe, East Meets West: Cross-Cultural Influences in Glassmaking in the 18th and 19th Centuries. Corning Museum of Glass, undated (the exhibition lasts November 18, 2010 - October 30, 2011, at Corning, New York state)
http://www.cmog.org/dynamic.aspx?id=11857

(a) Quote:

"East Influences West  * * * Western scientists did not know porcelain was a clay-based substance and mistakenly assumed it must be a vitreous one. Therefore, their efforts to reproduce porcelain resulted in the production of a variety of opaque white “milk glass” objects, as well as the discovery of production methods for hard-paste porcelain—supplying a market that had previously relied on East-Asian imports and glazed European earthenware.

"West Influences East  * * * By contrast [to China's splendid bronze and porcelain work], the East Asian tradition of glassmaking, which dates back at least to the Warring States Period (475–227 BC), was less inventive and more dependent on Western techniques and styles. * * * European Christian missionaries brought to Asia glassmaking formulas and skills that revolutionized the local manufacturing practices in China. One such missionary and scientist, Kilian Stumpf, organized a glassworks in Beijing in the 1680s.

(b) Note:
(i) chinoiserie (n; French, from chinois Chinese, from Chine China; First Known Use: 1883):
"a style in art (as in decoration) reflecting Chinese qualities or motifs; also : an object or decoration in this style"
(ii) Bakumatsu 幕末 (n): "closing days of the Tokugawa shogunate; end of Edo era"
Jim Breen's online Japanese dictionary
(iii) Japonisme is French word for the English noun Japonism
http://en.wikipedia.org/wiki/Japonism
(Japonism, or Japonisme, the original French term, was first used in 1872 by Jules Claretie in his book L'Art Francais en 1872 (published in that year) and by Philippe Burty. (1830-1890) in Japanisme III. La Renaissance Literaire et Artistique in the same year. Japanism might be considered a general term for the influence of the arts of Japan on those of the West, whereas in France Japanisme is applied to such influence and is in addition the name of a specfic French style)
(iv) Kilian Stumpf (born in 1665 at ; died in 1720 at Beijing)
* Würzburg
http://en.wikipedia.org/wiki/W%C3%BCrzburg
(a city in the northern tiop of Bavaria, germany)
* Glass of the Alchemists: Lead Crystal–Gold Ruby, 1650–1750 Corning Museum of Glass, June 27, 2008 – January 4, 2009.
http://www.cmog.org/dynamic.aspx?id=8472
(Jesuit priest Christoph Diem (born 1636) "may have influenced the Jesuit Kilian Stumpf (1655–1720), who studied theology in Mainz and became a member of the religious order’s mission to China in 1688. Stumpf, who organized the palace glassworks in Beijing and produced telescope lenses for the imperial observatories, displayed a thorough knowledge of glassmaking technology. Through his efforts, the alchemically inspired advances in European Baroque glassmaking reached the other side of the world in less than two decades")

Mainz
http://en.wikipedia.org/wiki/Mainz
(Although the city [Mainz] is situated opposite the mouth of the Main river, the name of Mainz is not from Main * * * Linguistic analysis of the many forms that the name "Mainz" has taken on make it clear that it is a simplification of Mogontiacum. The name appears to be Celtic and ultimately it is.)
(v) ancient Chinese glass
http://en.wikipedia.org/wiki/Ancient_Chinese_glass
(Chinese learned to manufacture glass comparably later than the Mesopotamians and Egyptians.[3] Imported glass objects first reached China during the late Spring and Autumn period – early Warring States period (early 5th century BC), in the form of polychrome ‘eye beads’. These imports created the impetus for the production of indigenous glass beads)

* For "eye beads," see
2010年12月中旬玻璃工房將吳美國洛杉磯Brea Mall 與您相見; Brea Mall, Space #1102A, Brea, CA 92821 (First Floor Nordstrom Wing). 透明思考, Nov/Dec 2010
http://www.liuli.com/event/TMSK29_1119s.pdf
(page 10/20: "（二）有眼的珠飾（eye beads） 戰國（475～221B.C) 在珠飾的表面，裝飾出同心圓或七圓相繞的各種圖案，在西方泛稱之為「eye beads（眼形珠）」。在戰國的一些文獻記錄中， 經常出現「隨侯珠」和「和氏壁」並列為「隨和之寶」之說。這裡所提到的隨侯之珠，是否確定為有眼的琉璃珠，證據並不充分，但王充所謂「隨侯以藥作珠」所指為人造之物，是千真萬確的事實。上個世紀70年代末期，湖北隨縣曾候乙墓中出土數量頗巨的有眼琉璃珠，其中有來自西亞的貴重進口物資，也有本土燒結的鉛鋇琉璃產品。隨縣即周王氏賜封的隨侯故址，由這些蛛絲馬跡看來，離李斯在《諫逐客令》中
所稱「隨和之寶」的隨侯珠也不至於太遠了。古人所稱的隨侯珠或許就是西方人統稱為e y e
beads的有眼琉璃珠，但近人卻又流行稱之為「蜻蜓珠」。「蜻蜓珠」的命名源起於日本大正年代（1912～1916），日本學界稱這類有眼的琉璃珠為「トンボ玉」（音為TOMBOTAMA），而TOMBO又和日文漢字“蜻蛉”同音，因之也有書寫為「蜻蛉玉」者。")

The Liuli file is a huge one, taking tome to download.

--