Podcasts about Jingdezhen

This episode is all about the tea (and teaware) sought and found and loved in 2024, the year of the Dragon. Derek gives his hot takes on Jingdezhen, the Mecca of Chinese porcelain, and Yixing, the birthplace of Chinese teapots. We talk about the spring tea rush, living out of a backpack for 30 days, and go all through the land of mountains and rivers of southern China seeking true tea culture. As always, check out Onerivertea.com and Taoteaware.com for the tea and the teaware mentioned on the pod. Thanks for your support, and brew happy!

Weston Lambert transforms semi-precious stones and found rocks into profoundly beautiful, time-defying glass sculptures. By incorporating an original process for laminating the two materials and by cold-working the surfaces of the glass and rock, the artist is able to bring his skill to bear on these objects that seamlessly transform from stone to glass and back again. Lambert's work is about dualities and the balancing of contrasting forces. He's looking for the place where transparency/opacity, and ephemeral/eternal coexist, each taking part in creating equilibrium. This dynamic relationship turns fragility into an asset and rigidity into liability. Lambert states: “In the studio, I accelerate the slow violence of geological processes. My materials are engaged in a condensed passage of time—modified by my brief tenure, on a timeline charted by millennia, not decades. The heat of the kiln allows molten glass to nestle into stone and days of grinding/polishing simulate eons of erosion. In my pursuit of permanence, I create invulnerable, seamless objects that have been broken and mended outside of geological time.” A sculptor based in Tacoma, Washington, Lambert's primary media are glass, metal and stone. In 2007, he earned a BFA (Maxima Cum Laude), from the University of Hawaii at Manoa and in 2012, his MFA from Tulane University in New Orleans, Louisiana. In 2010 and again in 2020, the artist was awarded a full-tuition scholarship at Andersen Ranch Arts Center, Snowmass Village, Colorado. In 2014, he was the recipient of the prestigious Joan Mitchell Foundation Career Opportunity Grant, one of two such grants awarded nationally per year. Lambert's work has been exhibited worldwide, including SOFA Chicago, The Toyama International Glass Exhibit, and the Cheongju Craft Biennale in South Korea. As a public artist, Lambert has completed prominent commissions including Untitled, at Western State Hospital, Lakewood, Washington, 2023 and Currents, at the Seattle-Tacoma International Airport, Seattle, Washington, 2020. His works have been included in such publications as Sculpture Magazine and Glass Quarterly Magazine.  In 2024, Lambert's work was exhibited at Smith and Vallee Gallery, Edison, Washington, and Taoxichuan Glass Studio Gallery, group exhibition, Jingdezhen, China, where he also lectured and demoed. The artist lectured/demoed at Chico State University, California, and on November 23 taught an online class, Making it on Social Media: Aligning Creativity, Integrity, and Studio Success. He has over 350K followers on Instagram. In March 2025, Lambert will participate in a group exhibition at Visu Contemporary, Miami Beach, Florida, and film a class on his process of combining glass and stone at Bullseye Glass Co., Portland, Oregon, available in late Spring. Of his artwork, Lambert explains: “In the context of human lives, rock embodies strength, consistency, and timelessness. There's safety in its solidity, but the natural world is in constant flux. Granite and sand share each other's future—forever shattered and recast. Glass is delicate, but when combined with the durability of stone, the pairing embodies harmony.”  

In der letzten Woche war sehr viel los. Ich war in Jingdezhen, es war Mondfest und wir hatten interessante Taifune …

Flood control and rescue efforts at Dongting Lake in Hunan province reached a crucial phase late on Monday night, with a breached dike sealed at around 10:30 pm.7月8日深夜，洞庭湖的抗洪救灾工作进入关键阶段，晚10时30分左右，湖南华容团洲垸洞庭湖决口完成封堵。The breach, 226 meters wide, occurred at around 5:48 pm on Friday at a dike in Tuanzhou, a township in Huarong county in the city of Yueyang, which is part of a dike network around Dongting Lake, China's second-largest freshwater lake.17时48分许，紧急封堵失败，堤坝决堤，经初步勘测，决堤口宽度约10米。团洲垸是中国第二大淡水湖洞庭湖周围堤坝防护的一部分。Zhang Yingchun, Hunan's executive vice-governor, said more than 100,000 cubic meters of rock have been used in sealing off the breach, and crews had been sealing off 3.5 meters of the breach an hour.湖南省常务副省长张迎春称，目前已使用了超过10万立方米的块石封堵决口，每小时封堵约3.5米。Following the dike breach, a large volume of water from Dongting Lake rushed into the Tuanzhou dike region, flooding 47.6 square kilometers of the region's total area of 55 sq km.堤坝决堤导致洞庭湖的大量湖水涌入团洲垸，淹没了该地区的47.6平方公里，其总面积约为55平方千米。At least 7,000 residents were evacuated after the dike burst.7000余名居民在决堤中被救援。Several local schools have been turned into temporary shelters, housing about 4,000 residents and providing essential items such as quilts, towels and buckets to disaster victims. Professional medical personnel are available around the clock to those who have been displaced.当地几所学校已成为当地4000余名居民的临时避难所，救援工作组确保居民们有饭吃、有衣穿、有安全住所、有干净水喝、有病及时医治。"Our home was affected twice. Back in 1996, there was another flood and then this year. I think the resettlement process is now very good," Tuanzhou resident Cai Shusheng told China Global Television Network.当地居民蔡树生在接受中国国际电视台采访时表示：“我家曾受到过两次洪水影响。1996年发生过一次洪水，今年是第二次，现在的居民安置做得很好。” After the dike breach, an embankment considered the second line of defense was threatened on Monday.团洲垸的决堤代表洞庭湖的“第二道防线”受到威胁。The embankment, about 2 kilometers from the breached dike and 14.3 km long, separates Tuanzhou from the nearby township of Qiannan.居民居住区距离堤坝决堤处约为2公里，决堤总长14.3公里，将团洲垸与附近的钱南垸隔开。Multiple piping hazards — the movement of water through channels in the embankment — were observed, but they have been brought under control, local authorities said on Monday.7月8日，地方当局表示，目前管道危险是由于湖水不断涌入导致，目前情况以得到稳定控制。More than 300 police officers and firefighters have been working at the site to deal with the piping effect.300多名警察和消防救援队员一直在现场进行救灾抢险工作。Zhu Dongtie, head of Hunan's Department of Water Resources, said the embankment has not been used to prevent flooding since 1996, and it was built to a much lower standard than the dike.湖南省水利厅厅长朱东铁称，自1996年以来，堤防未曾用于防洪，其建造标准低于普通堤坝。Twenty-four incidents of leakage and piping at the embankment have been dealt with, he said.曾发生过的24起堤坝决堤和管道堵塞都已妥善处理。Despite all the difficulties and challenges, the embankment must be safeguarded, he added.尽管存在种种困难和挑战，但堤坝必须守住。The dike breach followed 17 days of heavy rainfall in Hunan, the longest continuous period of heavy rain since 1961.堤坝决口前，湖南面临了17天暴雨，这是自1961年以来最长的连续暴雨。The National Development and Reform Commission has allocated 200 million yuan ($27.5 million) to support disaster-affected parts of Hunan, including the counties of Huarong and Pingjiang in Yueyang, and in neighboring Jiangxi province.国家发展和改革委员会已拨款约2亿元人民币支持湖南受灾地区，包括岳阳华容县、平江县，以及与湖南毗邻的的江西省。In Jiangxi, the flood control situation remains severe due to prolonged high water levels on the Yangtze River and at Poyang Lake.由于长江和鄱阳湖水位长期高于平均水位，江西省防汛形势依然严峻。Water levels at Poyang Lake, China's largest freshwater lake, have been high since June 27, when the water level exceeded the warning level.中国最大淡水湖鄱阳湖的水位自6月底，其水位一直超警戒水位。By the end of Sunday night, the water level at Xingzi Station, a key hydrological station on Poyang Lake, still exceeded the warning level by 2.19 meters.截至7月7日晚，鄱阳湖星子站水位仍超过警戒水位2.19米。Floods and other geological disasters have affected more than 1.6 million people in Jiangxi in cities such as Nanchang, Jiujiang and Jingdezhen, causing direct economic losses of 2.23 billion yuan.洪涝等地质灾害累计影响江西南昌、九江、景德镇等城市160多万人，造成直接经济损失22.3亿元。According to the Ministry of Water Resources' Yangtze River Water Resources Commission, as the river basin's inflow recedes, stations in the middle and lower reaches of the Yangtze are expected to see water levels gradually fall below the warning level from mid to late July.根据水利部长江水利委员会的数据，随着流入水量的减少，预计7月中下旬长江中下游站点的水位将逐渐降至警戒水平以下。sealing offv.封堵warning leveln.警戒水位

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This week's guest is Cammi Climaco a ceramicist, multidisciplinary artist, educator and erstwhile stand-up comedian based in New York. Cammi's art moves between performance, sculptural and functional pieces and ruminates on the history of women in ceramics, finding joy in unreachable places and ancient love poems. Cammi was born in Cleveland, OH in 1971, the youngest of six children. Her father John Climaco ran a printing press at a printing company in Ohio and her mother Wanda was a homemaker who later cared for the elderly. Cammi received her BFA at Kent State University in Crafts and her MFA in Ceramics at Cranbrook Academy of Art. After college, Cammi spent some time in the corporate world from waitressing to selling furniture and recruiting executives, none of which satisfied her. Eventually her part-time teaching in ceramics led to her becoming a regular educator in her preferred medium. She has taught at the Pratt Institute of Art and Design and the 92NY in Manhattan and currently also teaches at BKLYN Clay. Cammi attended The Pottery Workshop residency in Jingdezhen, China. And she is the co-host of The Ceramics Podcast. Her work can be found in galleries and theaters in New York. Cammi lives in Queen's with her parter, musician Cru Jones.Cammi's website: https://www.cammiclimaco.com/Instagram @cammiclimaco Favorite artists:Marguerite WildenhainMaija GrotellLucie RieEva ZeiselYoko OnoCara BenedettoSarah AllwineDini DixonKatie Coughlin Cammi's Playlist:We Live in Brooklyn,Baby/Roy AyersUbiquity Sweet Tears/NuyoricanSoul Tryon/ErykahBadu Loungin'/Guru KissFrom a Rose / SealHost: Chris StaffordProduced by Hollowell StudiosFollow @theaartpodcast on InstagramEmail: hollowellstudios@gmail.comThis show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/4769409/advertisement

This week's guest is Cammi Climaco a ceramicist, multidisciplinary artist, educator and erstwhile stand-up comedian based in New York. Cammi's art moves between performance, sculptural and functional pieces and ruminates on the history of women in ceramics, finding joy in unreachable places and ancient love poems. Cammi was born in Cleveland, OH in 1971, the youngest of six children. Her father John Climaco ran a printing press at a printing company in Ohio and her mother Wanda was a homemaker who later cared for the elderly. Cammi received her BFA at Kent State University in Crafts and her MFA in Ceramics at Cranbrook Academy of Art. After college, Cammi spent some time in the corporate world from waitressing to selling furniture and recruiting executives, none of which satisfied her. Eventually her part-time teaching in ceramics led to her becoming a regular educator in her preferred medium. She has taught at the Pratt Institute of Art and Design and the 92NY in Manhattan and currently also teaches at BKLYN Clay. Cammi attended The Pottery Workshop residency in Jingdezhen, China. And she is the co-host of The Ceramics Podcast. Her work can be found in galleries and theaters in New York. Cammi lives in Queen's with her parter, musician Cru Jones.Cammi's website: https://www.cammiclimaco.com/Instagram @cammiclimaco Favorite artists:Marguerite WildenhainMaija GrotellLucie RieEva ZeiselYoko OnoCara BenedettoSarah AllwineDini DixonKatie Coughlin Cammi's Playlist:We Live in Brooklyn,Baby/Roy AyersUbiquity Sweet Tears/NuyoricanSoul Tryon/ErykahBadu Loungin'/Guru KissFrom a Rose / SealHost: Chris StaffordProduced by Hollowell StudiosFollow @theaartpodcast on InstagramEmail: hollowellstudios@gmail.com

Today on the Tales of a Red Clay Rambler Podcast I have an interview with Caroline Cheng. A noted artist and curator, Cheng has recently expanded her practice into environmental design through the Yi Design Group. The company turns recycled ceramic material from Jingdezhen into architectural products. In our interview we talk about launching a design start-up, addressing the issue of ceramic waste, and the evolution of The Pottery Workshop. Cheng is the Executive Director of the art center, which promotes ceramics throughout China, and has studios in Hong Kong, Shanghai, Dali and Jingdezhen. For more information visit www.carolinecheng.com or www.yidesigngroup.com.   NCECA will be hosting their first ever podcast room at this year's conference in Cincinnati. Thursday March 16th and Friday March 17th there will be six hour-long live tapings of popular ceramic podcasts. I'll be hosting an episode titled Taking an Environmental Approach to Making with Marianne Chénard, Julia Galloway, and Ché R. Ochtli on Friday at 2:30 in room 212. Please drop in to experience this new interactive format for discussion at NCECA. For more information visit www.nceca.net.    Today's episode is brought to you by the following sponsors:   For the past 100 years, AMACO Brent has been creating ceramic supplies for our community ranging from underglazes to electric kilns, and they have no plans of slowing down. www.amaco.com   The Rosenfield Collection of Functional Ceramic Art is an on-line source for research and inspiration, featuring images of thousands of objects made by over 800 artists. www.Rosenfieldcollection.com.

Jen Dwyer grew up on the West Coast, in the Bay Area, California and currently lives and works on the East Coast, between Connecticut and New York. Her playful ceramic sculptures, paintings and otherworldly installations evoke dreams, fantasy, and the desire to escape to a world of one's own creation. Through her artwork, Dwyer creates a uniquely powerful, caring, and intimate feminine world, underscored by the artist's study of Paleolithic talismans, the decadent Rococo aesthetic, and contemporary girlhood culture and ecofeminism. Dwyer received a BFA in Ceramics, BA in Environmental Studies and a minor in Art History from University of Washington. She finished her MFA in the Spring of 2019 from University of Notre Dame where she received a Full Fellowship in Ceramics with a Gender Studies Minor. Dwyer has partaken in many residencies and fellowships, including the Pottery Center in Jingdezhen, China; fellowship at Wassaic Projects and the Museum of Art and Design Studio Residency. Recent exhibitions include the Spring/Break Art Fair in New York City, Maxon Mills Gallery in Wassaic, the Snite Museum, at Notre Dame, a solo exhibition in Manhattan, NY at Dinner Gallery as well as recent and upcoming group exhibition at Hashimoto Contemporary Gallery, Gaa Gallery and Jeff Marfa Gallery. "The Female Gaze is an alternative way of seeing that represents everyone as a subject and acknowledges that people have their own complicated narratives. With this idea in mind Jen Dwyer constructs fanciful, porcelain vessels and sculptures that merge iconography from prehistoric imagery, (such as the Venus of Willendorf, which was thought to be a self portrait of the artist), with the Rococo Aesthetic, infused with contemporary feminist themes. Dwyer create an amalgamation of ceramic sculpture and oil paintings to examine contemporary socially constructed notions of identity by invoking the female gaze. The Female Gaze, coined by Jill Soloway, was created in response to Laura Mulvey's theorization of “the Male Gaze,” which is when cinematic depictions of women are seen as objects of male pleasure. The Female Gaze is an alternative way of seeing; a way of looking/representing that seeks to give everyone agency and make everyone a subject. Rococo art was created in reaction to boredom with the serious baroque style, and instead opted to depict humor, wit, emotion, and whimsy. Characterized by its light-heartedness, the Rococo presents itself at a more intimate scale, often in private spaces. I aim to create other worldly Installations, filled with my ceramic sculptures, to blur the barriers between the private and public, subject and object and self and others." Links: www.jen-dwyer.co   Instagram: @jen_dwyer_   Artist Shoutout:   Gracelee Lawrence Leah Guadagnoli Will Hutnick   I Like Your Work Links: https://www.ilikeyourworkpodcast.com/retreat Notions of Beauty Exhibition Join The Works Membership waitlist! https://theworksmembership.com/ Submit Your Work Check out our Catalogs! Exhibitions Studio Visit Artist Interviews I Like Your Work Podcast Say “hi” on Instagram

Last time we spoke Shi Dakai went into exile while performing a western expedition, riding out into an eventual oblivion. Hong Xiuquan fell into depression, paranoia and seclusion as he began to only trust his close family members and appointed them to grand positions despite the fact their skills might not be up to par. The Taiping kings were gone, now the new military leadership lay in the hands of Li Xiucheng and Chen Yucheng. The Nian rebels began to work closely with the Taiping to campaign against the Qing, but it was ultimately not working out. The taiping sought foreign support, but things simply were not going well on that front and they were gradually finding themselves being more and more isolated from allies to defeat the Qing.   #29 This episode is The Taiping Rebellion part 6: Rise of the Shield King Hong Rengan   Welcome to the Fall and Rise of China Podcast, I am your dutiful host Craig Watson. But, before we start I want to also remind you this podcast is only made possible through the efforts of Kings and Generals over at Youtube. Perhaps you want to learn more about the history of Asia? Kings and Generals have an assortment of episodes on history of asia and much more  so go give them a look over on Youtube. So please subscribe to Kings and Generals over at Youtube and to continue helping us produce this content please check out www.patreon.com/kingsandgenerals. If you are still hungry for some more history related content, over on my channel, the Pacific War Channel where I cover the history of China and Japan from the 19th century until the end of the Pacific War. Our old friend, the cousin to the Heavenly King, Hong Rengan had heard so much news over the years about his famous cousin and the Taiping. He decided to try and visit the Taiping capital of Tianjin. He left Hong Kong in may of 1858, traveling first to Canton which was at that time under British and French occupation, thus safe to him who was friends with missionaries. From there he set off northeast through Guangdong province along the riverways. For the most part, he ran into travelers trying to sell wares and Qing soldiers patrolling for bandits. He got to a junction at Nanxiong country and turned north upon an ancient stone road that led to the Meiling pass, the gateway dividing the southern part of the empire from the Yangtze valley. Beyond was Jiangxi province and beyond that Nanjing, or as I keep fumbling back and forth, Tianjin. He dressed as a peddler so he would be unremarkable to anyone, especially Qing troops and thus pass without incident. Once he entered Jiangxi he continued northeast along the Gan River where he came to the edge of the active war zone just outside the Taiping realm of control. Many Qing encampments were found along the way, many massive in size. Hong Rengan was able to attach himself quite easily to an outlying unit, joining them on their march eastward towards the porcelain producing city of Jingdezhen. There the Taiping attacked, forcing the Qing into a rout. Within the chaos Hong Rengan was lucky to escape the slaughter, escaping with only his clothes on his back.    After escaping the heated battle, he worked his way west for a time, away from the active fighting, then further north towards the Yangtze river towards Hubei province. This territory had been fought over for more than 5 years at this point, being conquered and reconquered by the Qing and Taiping. Countless cities he came across were empty, houses stripped of wood to make cooking fires for passing armies. Even in the more prosperous parts of the province, underpopulated farms were unable to muster enough hands to bring in the harvests. Hong Rengan eventually came across a Qing soldier. THe man told him he sought to purchase goods in the Qing held river town of Longping and then to sell the goods downriver in Nanjing to the rebels. The soldier seemed to have many contacts, thus Hong Rengan gave him a piece of gold leaf he had kept sewn safely into the fabric of his jacket and they partnered up.   While the soldier went to Longping to buy the goods, Hong Rengang waited for him in the city of Huangmei around 15 miles northeast with one of the soldiers contacts, a magistrate named Tan. Tan found Hong Rengan's intelligence and education so impressive he offered him a job on the spot as a secretary. It was quite a coveted job for an unemployed scholar,but Hong Rengan was still fixated on getting to Nanjing and gave Tan an ambiguous reply. The soldier did not seem to show up, leaving Hong Rengan with no way to get to Nanjing so he stayed with the magistrate for many months. Hong Rengan began to hear rumors about the Qing encircling the Taiping capital, strangling them into submission. Hong Rengan began to become anxious so he left Huangmei with a letter of introduction and a bit of money given to him by Tan.    Hong Rengan took back the mantle of a peddler, but in October a Qing patrol captured him, though they had no idea how valuable a bounty he truly was. He was kept a prisoner for several days, but in the end they simply let him go, sending him on his way to Longping where he found a secret house serving as a way station for Taiping refugees. In December of 1858, he crossed paths with Lord Elgin. From the secret house he heard that foreign ships had been spotted on the Yangtze on their way back to Shanghai. He ventured down the waterfront just in time to see Elgins small fleet at anchor and he soon become acquainted with Thomas Wade, Elgin's interpreter. Turns out he knew the man from Hong Kong and he tried to get board on one of the vessels to receive passage as far as Nanjing. He was unable to get the ride, but he did manage to get a letter delivered to Hong Kong addressed to some missionary friends letting them know he was alive and trying to get to Nanjing.    Some months later he found himself in Anhui province in the spring of 1859 where he finally found a Taiping patrol. When he told them his story, they took him for a Qing spy and sent him with armed guard to a garrison in Chentanghe. While under interrogation from the garrison commander, he opened a seam in his jacket providing a scrap of paper describing his family history. It was enough to convince the commander that he was indeed from the same village as the heavenly king. Thus the commander escorted him personally down the river on a Taiping vessel arriving in Nanjing on april 22nd of 1859, nearly a year after Hong Rengan began his journey.    Tianjin, was of course Nanjing, one of the greatest Chinese cities in its heyday, the secondary capital and former Ming capital. It was rich in temples, government offices, trading houses and such, a wide metropolis. It was now built for war, with countless fortifications and cannon placements everywhere. When the Taiping took it they burnt the Daoist and Buddhist monasteries, creating something of their own version of Jerusalem. In the Ming days, the city had a population in the millions, but now it seemed rather empty. The civilian residents were allowed to come and go and many had drifted off into the countryside. The Heavenly King's palace was incredible, there were drummers that flanked its main gate, a reception hall with lacquered wood carvings of dragons, walls inlaid with gold and nearly everything that touched the heavenly kings fingers, chopsticks, bowls, brushes and such were fashioned from gold. It is said his chamber pot was made out of silver, Trump would love that one. Behind the main hall lay the vast inner sanctum where Hong Xiuquan and his harem lived.   By the time Hong Rengan had come to Nanjing, Hong XIuquan had retreated from public life, spending his days behind the palace walls. Almost no one was allowed to meet with him, save for the women in his service. Hong Rengans reunion with his cousin, as he accounts it was bittersweet. It had been over 8 years since they last saw another and well…a lot had happened to say the least. Hong Rengan had heard the rumors that despite the weakness of the Manchu forces against the Europeans, Nanjing was almost encircled and being bled. The mass of Taiping armies had left the city marching in 3 separate armies on long range foraging expeditions, while the Qing forces concentrated all of their might to strangle Nanjing from its provisions. Hong XIuquan's seclusion from his active leadership role had hindered the Taiping. What Hong Xiuquan needed was an adviser, someone he could trust and that man was to be Hong Rengan.    Hong Xiuquan showered his cousin with titles and promoted him swiftly through the Taiping ranks. Little more than 2 weeks since his arrival, Hong Rengan earned the rank of king amongst the Taiping, even though this broke a promise Hong Xiuquan had made to not appoint anymore. Hong Rengangs title was “founder of the dynasty and loyal military adviser, the upholder of heaven and keeper of order in the court” he was henceforth known as the “shield king”. Hong Rengan joined the echelon of Taiping military officials and was in charge of the entire civil government of Nanjing. Basically he became Yang Xiuqing 2.0 and was only second to the heavenly king. His unexpected arrival seemed a sign from god for Hong Xiuquan, but as you would imagine a lot of jealousy and resentment emerged from the Taiping leaders. One particularly resentful man was Li Xiucheng who commanded the defenses of Nanjing. Li Xiucheng proved himself quite capable and a very trustworthy general, but he was not a king. To watch this other man come from out of nowhere and suddenly be promoted above him after so many years of loyal service, well anyone would be jealous. Li would actually gain the rank of King months later as the “loyal king”, but it seems it came too late and the jealousy over Hong Rengan only grew.    Hong Xiuquan was well aware of the dissatisfaction over Hong Rengan amongst his officers, so he called a full congregation of Taiping officials to honor the appointment of the Shield King. There he announced all matters in need of decision making were to be referred to the sole authority of the SHield King and as the crowd began to show audible disapproval Hong Rengan tried to turn down the appointment, but Hong Xiuquan whispered to him “all will be well, the wave that crashes with great force, soon spends itself and leaves peace”. Thus Hong Rengan accepted the official seal and began to preach to the crowd. He also began criticizing the policies made by the late Yang Xiuqing, offering improvements. In his own words about their reaction “They saw that I could stand in front of a multitude and hold forth flawlessly on doctrinal issues, and so they accepted me as their model of wisdom.”   It was clear to Hong Rengan that commanding the loyalty of the Taiping followers meant more than just giving them spiritual salvation; they also needed earthly rewards, such as the promises of a better state, and that of a better life. Hong Rengan sought a long lasting structure for the future Taiping government and society, for this he needed to weave together threads of Chinese tradition with his knowledge of the industrial societies of the west. He tried to infuse a prototype of ethnic nationalism that had not been seen in China since the Manchu conquered it. His first major proclamation served to fan the flames of ethnic resentment towards the Manchu calling the people to  “rejuvenate China and resist the northern barbarians, in order to wipe out the humiliations of two hundred years. We mouth their language … we live together with their members, and our people suffer from the vileness of the Manchu dogs.” The cause to get rid of the Manchu did not only resonate amongst the Taiping, but also many of those on the sidelines. And this was not limited to the Chinese, foreigners also took noticed to this fight against the tyranny of the Manchu. As one American in SHanghai put it  “Americans are too firmly attached to the principles on which their government was founded and has flourished, to refuse sympathy for a heroic people battling against foreign thraldom.”   Hong Rengan hashed out his vision of the new Taiping state in a document titled “a new work for the aid of government”. Now the traditional dynastic viewpoint had always been that CHina was the center of world civilizations and that barbarians were welcome come and trade, but they must acknowledge China's cultural superiority. Hong Rengan knew full well this annoyed foreigners and that foreign nations like Britain were both militarily powerful and very proud people. So he began to encourage not using the term barbarian and instead express ideas of “equality, friendship, harmony and affect”. Alongside this he thought the tributary model of diplomacy needed to be abandoned as a relic of the past with no use in the contemporary world. He argued that human beings were not willing to be considered inferior and that the foreigners in the past only performed the tributary customs out of force. The new China needed to establish friendly relations and long lasting respect from other nations.   Hong Rengans experience with foreigners in Hong Kong showed him China was merely one state among many with much to gain from studying other great powers in the 19th century. He also believed the christian religion was the key to the strength of western nations. He pointed out the Protestant nations of Britain, the US, Germany, the scandinavian nations were all the strongest and most prosperous followed by the slightly weaker French catholics and Orthodox Russians who held onto miracles and mysticism. By his reckoning, Islam or even worse Buddhism were unfiromly weak and nations who abided them found themselves colonized. He argued the Manchus were like Persia, where people accepted their slavelike status without complaint. The most powerful nation to Hong Rengang was Britain whose ruling he thought lasted more than a thousand years making it longer than any dynasty of China. He explained to the masses that Britains strength derived from the intelligence of its populace, a system of laws which China could and should emulate. But Hong Rengans greatest admiration was saved for the United States which was known as the “flowery flag country” to many of the CHinese, because of its flag. He called it “the most righteous and wealthy country of all, she does not encroach upon her neighboring countries. ” Well that last part certainly changed haha. He talked about American democracy, the notion that all people of virtue should have a say in choosing their leaders and setting policy. Hong Rengan began to list his western friends such as British missionary James Legge, the swedish missionary Theodore Hamsberg and countless americans he knew in Shanghai. He proposed to use his connections to help establish cooperation with the west. He proposed CHina tap into the global industrial economy, it was necessary to become strong. He pointed out that Siam had learnt from the west how to build steamships and thereby made itself a “nation of wealth and civilization”. Likewise Japan unlike the Qing rulers of China had opened themselves willings to foreign trade “and will certainly become skillful in the future”. Boy oh boy is that one ominous. This he argued was the path of a Taiping ruled China. Hong Rengans ideas in many ways were a vision of China as a modern industrial power. A lot of what he argues will be adopted by future Chinese leaders, some of whom were currently fighting the Taiping, such as Li Hongzhang. Now before anything could be down, the state needed to be founded and for that the war needed to be won.    To establish some central administration, financial and military authority, Hong Rengan needed the backing from military commanders. He could not expect support from Li Xuicheng so he began securing support from the other big heads such as Chen Yucheng. Chen Yucheng seemed quite willing to accept the new system Hong Rengan was advocating for. Shortly after taking the title of Shield King, Chen Yucheng and Li Xiucheng were also made kings; Chen became the Ying Wang and Li Zhong Wang; ie: the brave king and loyal king. These appointments were obviously done to placate any jealousy the generals might feel towards Hong Rengan. These men had been on their own for quite awhile and by no means eager to accept subordination under a newcomer. But for better or worse these 3 men were the top officials who would control Taiping politics and military strategy.    Now Li Xiucheng was very ambitious and was the one who sought the most self glory out of the Taiping leaders. His area of command was by his own design, that to protect Nanjing and he made every effort to place himself close to the heavenly king as his protector. Thus far he had managed to become the new Yang Xiuqing, but he did not like Hong Rengan nor was he open much to his ideas. Chen Yucheng on the other hand was more willing to accept a new political leadership role of Hong Rengan and would become his main supporter. Aside from his role as a commander in the field he also helped Hong Rengans governmental reorganization. Chen Yucheng became a member of Hong Rengans board for a newly organized state examinations. Hong Rengan wanted a government based on law and stressed therefore the need of education for the Taiping people.   One of Hong Rengans first proclamations was to revamp the examination. Interestingly to do this he advocated to blend confucian classics, the four books and 5 classics with the taiping christian texts. Though none of these texts survived, scholars assumed the general principles of the confucian work were revised heavily before being adopted. Hong Rengan wanted to carry on some of the imperial tradition; to formulate an elite that would be characterized not only by ranks and titles but also exempt from labor service. While the examinations and privileges of those who passed them looked similar to the imperial systems of before, the substance of the system was quite different. The imperial gentry was a statum that took its uniform based on the study of confucian classics, but Hong Rengan wanted a CHristian gentry. Thus the new examinations looked more so at qualifications for official service. At the same time Hong Rengan took the time to clarify “yes thats a good word”, the visions of Hong Xiuquan in a way that would make more sense in traditional christian literature. This was not just for the CHinese, but also for foreigners who were greatly weirded out by the fantasifull aspects of the Taiping doctrine. Hong Rengan was trying to have the Taiping version of christianity mesh more so with the protestant one so foreigners would accept it more.    Hong Rengan suggested that foreign missionaries and technical advisers be permitted to come to Nanjing. He was trying to establish some westernization and friendly relations with western powers and many missionaries would come to Nanjing such as T.P Crawford, J.L Holmes, J. Roberts and Hartwell of the American Baptists and Josiah Cox of the British Wesleyans. However the year 1860 brought with it an end to the Second Opium War and the signing of the treaty of Tianjin, thus the western powers had effectively tossed their lot in with the Qing. Hong Rengans hopes of gaining the western aid to defeat the Qing was snatched.    In the meantime, while Chen Yucheng proved a valuable ally to his cause, in the absence of having Li Xiucheng on his side, Hong Rengan was unable to overcome the resistance to his authority. Regardless he attempted to take a leading role in planning military campaigns; and his strategies were initially successful.    When Hong Xiuquan and his cousin spoke in their younger years they envisioned building a kingdom that did not include the north. Instead it set its foundation in Nanjing and reached down over the 7 southern provinces. It would abandon the larger expanse of the Qing dynasty for something more akin to the Ming. However when the Taiping took Nanjing, they tried to take the south and north failing in the process. Now the Taiping capital was in a dire situation, the had lost most of their southern territory that they acquired in the initial campaign. They still held the strategic city of Anqing upstream, but the Qing had retaken Zhenjiang. Qing forces had established encampments with 10s of thousands of soldiers guarding strategic points north and south of Nanjing keeping them firmly under siege. These encampments represented the leading forces of the Qing empire, the counterparts to Prince Seng's army in the north. The southern camp had dug in just 10 days after the fall of Nanjing to the Taiping and stood its ground almost continually ever since. Zhang Guoliang commanded the southern encampment and He Chun the north.   Zhang Guoliang's siege forces were too large to be easily scattered by the Taiping sorties from Nanjing. But at the same time Nanjing was too strong for the besiegers to mount an attack upon it. Thus a stalemate occured for a long time, peppered with Taiping victories in 1856 that did shatter the Qing siege, but then the Taiping internal collapse undid this. 3 years after the Qing rebuilt their ranks and commenced digging trenches below Nanjing that would stretch 45 miles with more than 100 guard camps along the length blocking access to the capital. He Chun and Zhang Guoliang prepared for what they thought would be the final assault to crush the rebel capital. Hong Rengan presented a bold plan to relieve Nanjing. The Taiping would send a small expeditionary force in a wide, sweeping arc beyond the rear guard of the Qing armies within Zhejiang province to attack its weakly defended capital Hangzhou. Hangzhou was 150 miles southeast of Nanjing and was the supply line supporting the southern Qing encampment. Now because He Chun and Zhang Guoliang concentrated all of their forces around Nanjing, there was little real defense left for Hangzhou, so they would be forced to transfer troops from the large encampments around Nanjing to lift a siege of the city.    As per Hong Rengans plan, they would recall two roving armies led by Chen Yucheng and the younger cousin of Li Xiucheng, known as the attending King who would return to Nanjing from their distant foraging campaigns. As soon as the Qing forces around Nanjing thinned out sufficiently, the expeditionary force at Hangzhou would secretly retreat as the combined armies of the Brave, loyal and attending King's would sweep in from 3 sides to crush the weakened Qing camps, thus raising the siege. Even Li Xiucheng agreed such a plan might break the siege, but he did question what lasting effect it might accomplish. He argued it would reconcentrate the Taiping forces in Nanjing where they had limited supplies, thus Hong Rengan laid out the full scope of his revised strategy for winning the war. The rice growing southern provinces, sichuan in the west and the Great Wall to the north were over 1000 miles from Nanjing, but to the east were grand and wealthy cities like Suzhou and Hangzhou who had access to the sea. It was to the east they should strike. Once they performed the siege lifting offensive they should turn east and conquer the cities between Nanjing and Suzhou in a swift and precise campaign. With access to the sea they could ensure supplies, arms, wealth and new recruits. If all went well they could get help from foreign allies and using the wealth taken from Suzhou and Hangzhou they could purchase perhaps 20 steam powered ships from the foreigners in shanghai. With such naval forces they could patrol the Yangtze unopposed and begin taking the southern coast along Fujian, Guangdong all the way to Hong Kong. From there they could march on Jiangxi, Hunan, Hubei and seize Hankow, solidifying the Taiping control over the entire Yangtze river valley and cutting the Qing empire effectively in 2. By consolidating the south, they could take Sichuan, Shaanxi and the original dream of Hong XIuquan and Hong Rengan would be complete. The former Ming empires borders would be theres and Beijing and the northern provinces would eventually be starved and wither away. The success of his grand plan depended heavily on the support of foreigners in Shanghai, but would they be open to it?   On February 10th of 1860, the Loyal King left Nanjing with 6000 handpicked men disguised in Qing uniforms stolen from slain enemies. The coordination between the Green Standard, Yung-Ying armies and local militias was so weak, the Loyal King's force managed to seize several garrison towns along their way before looping around to hit Hangzhou. They surprised the city on March 11th when hundreds of Taiping banners began to be erected around the great city indicating its was under siege. The main Taiping force battered the front gate of Hangzhou using sappers and tunnels and a hole was blasted by march 19th. Hell unleashed upon the city as its untrained militia routed fleeing to their homes in neighboring towns. The leaders of Hangzhou likewise abandoned their offices taking their bodyguards with them, with many also ransacking the city as they fled. Li Xiuchengs men fought against the local residents who stood their ground and the local women did as moral instructions proscribed, they began to kill themselves en masse. The women hanged themselves, poisoned themselves, stabbed themselves and threw themselves into wells to drown. The Manchu commander of Hangzhou fled with his troops back into the inner garrison holding out against the fierce Taiping invaders. Li's men were unable to break into the Manchu garrison after 6 days, so he abandoned the attack and began the retreat back to Nanjing. He had accomplished his objective and the plan would work out perfectly. Zhang Guoliang received reports of the attack on Hangzhou, without any clear indication of the size of the Taiping force. He shifted nearly a quarter of his total siege forces to relieve Hangzhou as a result while the Loyal King and his men took to their Qing disguises yet again easily slipping past Zhang Guoliangs men. Zhang's force arrived to Hangzhou to find no Taiping, nor any civil government, so they looted the city hahahaah.    By April the main Taiping armies of the Brave and Attending kings went to the outskirts of Nanjing and join up with the Loyal Kings forces to throw their combined weight on the weakest point of the southern QIng encampment. The southern camp fell apart in a rout as 100,000 Taiping overran them from 3 different directions. Li's cavalry smashed into the Qing rear lines crushing the men under their own defensive works. Thousands were cut down with their bodies left in the trenches they had dug. The waterways overflowed their banks raising corpses everywhere. The routed Qing dropped their weapons as they fled, but the Taiping pursued them for weeks cutting more and more down. Soon the Taiping overran the city of Danyang, 45 miles to the east of Nanjing. General He Chun committed suicide by eating raw opium and Zhang Guoliang drowned while trying to escape from Danyang. Thus in the central theater of the war, no more capable Qing commanders were left.   In the spring of 1860, suddenly the Taiping came out like a scourge from their capital marching to the east. Local militias fled before them, Jiangsu province was swarmed, countless cities fell without a fight. By mid may the Taiping captured Changzhou a few days later Wuxi. Then the Taiping plucked one of the greatest cities, Suzhou which held a population of 2 million, providing them with a vast source of new recruits and plunder. The Taiping's momentum was unbreakable, Suzhou simply opened the gates to them. For those who were in the path of the Taiping choices were always the same, be brave and fight to protect your homes, or cut your manchu queues and join them. Many peasants tried to appease both sides by growing their hair long on top when the Taiping took over, but kept their Manchu braid wound up underneath their long hair in case the Qing came back. Soon the Taiping spread past Jiangsu to Zhejiang forcing countless to flee to the protection of the international city of Shanghai. Yet rumors spread to those in Shanghai that an army of 100,000 Taiping was going to march upon Shanghai with a flotilla of 10,000 boats so large it would take 3 days to fully pass the river.   The treaty port of Shanghai held half a million Chinese inhabitants, a figure growing daily with refugees. Shanghai was divided into 4 sections; the east going to Jiangsu province; the south was the old Chinese city with a circular defensive wall 25 feet high governed by the Qing holding most of Shanghais population; to the north was the French and British concessions and to the east was the Suzhou creek where past that was the American concession. The foreign population numbered around 2000 settled people and shipping crews numbering another 2000 or so. The British dominated the community, seconded by the French, leaving the Americans a minority. It was not a beautiful city. Countless newcomers had grand visions of “an El dorado of wealth, hope and fortune, only to find a dirty, overcrowded settlement with “ill built houses reeking with impurities and fevers and vile stenches”. One missionary said of the city  “one of the filthiest in this world. I have seen nothing to be compared to it in dirt and filth, it surpasses everything.”   Shanghai had access to the sea and the Yangtze river making it an ideal point of trade for tea and silk from China's interior. Shanghai quite frankly was built specifically for the purpose of dominating the China trade. As the Taiping edged down the river, British authorities in Shanghai issued an injunction from trading with the rebels and fear set into the foreign community that their immensely profitable commerce was about to be destroyed. The top ranking British official in Shanghai was our old friend Frederick Bruce, the younger brother to Lord Elgin. After failing at his job to get the Qing to abide by their treaty, he left his brother to finish that work up as he took up the mantle to manage Shanghai. Because of his experiences he sought to walk a very fine line when it came to his new role and he was determined to remain neutral towards the civil war. He issued the trade injunction believing to even trade with the Taiping was breaking neutrality. He also simultaneously tried to avoid aiding the Qing, but Britain had interests with the Qing and the Qing knew how to twist an arm. The Qing had an official named Wu Xu who hounded Bruce for British support in defending Shanghai from a possible Taiping attack. Wu Xu warned if the Taiping took Shanghai, it would shut down all trade and the British would be cast out. Bruce began to hear rumors about horrible dealings in Hangzhou by the hands of Li Xiuchengs men and began to worry what might unfold in Shanghai.   It was not just the Taiping that were a threat, there were legions of renegade Qing forces who had taken up residence in Shanghai who had fled from Suzhou and Hangzhou. Bruce wrote  “the defeated imperialists have revenged themselves for their defeat by pillaging the defenceless villages on their line of retreat. The beaten troops, the victorious insurgents, and the vagabonds of the city itself, all join in plundering the wealthy and respectable inhabitants.” There were continuous false alarms being made that the Taiping were attacking Shanghai causing the city to become a powder keg. Weighing the options, Bruce decided it was Britain's moral duty to protect Shanghai, but not just the foreign settlements, also the Chinese city under the Qing civil governments control. He made it clear any British defense of Shanghai would strictly be limited to the city itself. Wu Xu tried to press Bruce that a preemptive British led force at Suzhou to halt the Taiping would be a good idea, but Bruce rejected this immediately. The French however heard reports that another French catholic missionary had been murdered by the Taiping, and they decided to rally a force of 3000 men to march on Suzhou, but Bruce was able to scuttle the mission. The British merchants began to hound Bruce to mount a sturdy defense of the city, but Bruce had to wait, probably months for Britain to give him permission to deploy defenses. Thus in the meantime Bruce began calling up volunteers, and only a handful of cannons were dragged together with a few hundred inexperienced men to man the walls to face if rumors were true, legend of Taiping.    I would like to take this time to remind you all that this podcast is only made possible through the efforts of Kings and Generals over at Youtube. Please go subscribe to Kings and Generals over at Youtube and to continue helping us produce this content please check out www.patreon.com/kingsandgenerals. If you are still hungry after that, give my personal channel a look over at The Pacific War Channel at Youtube, it would mean a lot to me.  Hong Rengan went on a great pilgrimage to Nanjing and became the Shield King. His reforms were grand, but he drew ire from his fellow the Loyal King. Could Hong Rengan turn the movement around?  

The levels of income in parts of China and India were similar to those in Europe in the middle ages, until the Mediterranean pulled ahead – followed by northern Europe, initially Holland and then Britain. This ‘great divergence' was one of the fundamental shifts in history – and is only now being reversed.  Did the divergence arise from imperialism and a 'drain' of wealth from Asia, or did it arise from internal features of Asian and European Society?A lecture by Martin DauntonThe transcript and downloadable versions of the lecture are available from the Gresham College website: https://www.gresham.ac.uk/watch-now/diverge-asiaGresham College has offered free public lectures for over 400 years, thanks to the generosity of our supporters. There are currently over 2,500 lectures free to access. We believe that everyone should have the opportunity to learn from some of the greatest minds. To support Gresham's mission, please consider making a donation: https://gresham.ac.uk/support/Website:  https://gresham.ac.ukTwitter:  https://twitter.com/greshamcollegeFacebook: https://facebook.com/greshamcollegeInstagram: https://instagram.com/greshamcollege

Jingdezhen is known for being a “porcelain production center” for the imperial family during Ming and Qing dynasties. We visited the Imperial Kiln Museum, currently an internet sensation, and spoke with the president of the Jingdezhen Imperial Kiln Institute to get a glimpse of these timeless treasures and explore how traditional porcelain-making history is being introduced to the public in a more accessible way. We also discuss the construction of a special “gene bank” housing ancient porcelains (00:08). / Is office silence good or bad (26:11)? / Heart to Heart - please send your audio questions to ezfmroundtable@foxmail.com (42:23)! On the show: Laiming, Li Yi, Heyang, Fei Fei & Tony Reid

We visited the porcelain capital Jingdezhen and talked to a young American artist who has been living in the city for seven years and specializes in combining porcelain with modern creativity (00:10). / Is there a correlation between underachievers and a carefree childhood (25:53)? / Round Table's Happy Place (48:13)! On the show: Laiming, Li Yi, Heyang, Fei Fei & Tony Reid

Brad Lail trained in North Carolina as a production thrower. Brad's training has been informed by the teachings of Leach pottery, Michael Cardew, and traditional North Carolina pottery. Brad studied abroad in Jingdezhen, China, and then in England. Brad was a journeyman potter for much of his career before deciding to try his hand at his own company, Lail Design. http://ThePottersCast.com/867

Today, we bring you the story of young artists and entrepreneurs who have left big cities for China's porcelain capital, Jingdezhen, in pursuit of their dreams. / Are NFTs going to be popular in China as elsewhere? / Heart to Heart - please send your audio questions to ezfmroundtable@foxmail.com!

For this episode, I recap my 2015 trip to Jingdezhen known for its amazing porcelain and rich history. I spent a total of two days there and attended the 2015 Jingdezhen International Ceramics Fair and toured the UNESCO World Heritage Site comprising the Imperial Kilns. In addition, I touch on making friends and the experiences of being in a new place and taking in everything you can. Please let us know what you think of International Immersion by emailing us at internationalimmersionpodcast@gmail.com or check out our Facebook Page "International Immersion" https://www.facebook.com/International-Immersion-103548421825305, Instagram page, and Linkedin Page:https://www.linkedin.com/company/international-immersion-podcast/?viewAsMember=true --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/international-immersion/message

HEAR THE HEADLINES – Bulk and Specialty Tea Prices Diverge, a TEAIN22 Forecast | France to Pay €1 Million to Certify Ceylon Tea | Bids total $8 Million HDK at Sotheby's Inaugural Tea Auctions| NEWSMAKERS – Shekib Ahmed of Koliabur Tea Estate, Assam, India and Abhijeet Hazarika @TeaSigma | GUEST – Mary Cotterman, founder Mary Cotterman Pottery, Asheville, North Carolina, USA| FEATURES – This week, Tea Biz travels to Asheville, NC, to meet teaware potter and ceramist Mary Cotterman, who discusses the artisan spirit and state of mind of those embracing native clay and how COVID-19 lockdowns focused her attention like a monk.Then, to Assam, India, to hear Part 2 of the series Frugal Innovation. In this segment, Aravinda Anantharaman explores the application of Frugal Innovation in the tea garden and factories. Shekib Ahmed of Koliabur Tea Estate explains that "Objective data changes the conversation in the factory from vague concepts to thresholds and parameters. It makes operations scientific so that we can improve.”Born from Mud –In 2015 Mary moved to China to learn from the old masters how to make clay teapots in the style of Chaozhou Gongfu and to speak Mandarin. She spent two years there learning from a master in the Beijing school, becoming the first westerner to throw shou la hu teapots. She next studied at the Sanbao International Ceramics Village in Jingdezhen, the home of porcelain for 1700 years. She returned to the US in 2018 and makes her home in Asheville, North Carolina, where you will find her crafting water jars, pitchers, teacups, celadon gaiwans, and ash-glazed Japanese-style Kyusu teapots in a wood-fired kiln. - By Dan BoltonFrugal Innovation: In the Garden and Factories –Embracing Simple Technology with Scalable Impact | Frugal innovations utilize simple technology to address the most vexing challenges facing the tea industry. It's an umbrella term for innovations that do not require much capital, carry a low financial risk, and can be done safely with high reliability. For an industry that's been grappling with multiple challenges, frugal innovation is a low-risk and impactful option, spearheaded by an industry veteran with an eye for innovation. For every successful experiment, many fail, but these are essential to the process that begins with the question, “What if…?" - By Aravinda Anantharaman

For our thirteenth episode we head to Jingdezhen in Jiangxi province were ceramics artist and expert Caroline Cheng is joining us from her workshop. Outside an ongoing street-side porcelain fair is in the works. During the episode we hear about the fair, Caroline's project Prosperity, and also recycling ceramic waste into sponge cities, her new venture called Regeneration Tree.     ----- For a more detailed write-up on this episode, including links to resources mentioned, please visit our website: wildchina.com

Thank you for listening to this track produced by the Art Gallery of South Australia. Join us as Russell Kelty, Acting Curator of Asian Art, discusses the development of porcelain as a conveyor of taste and style in A Vast Emporium: Artistic and cultural exchange in an age of global trade. For more information please visit agsa.sa.gov.au Image: China, Jiangxi, Plate, with sailing ship, 1700-20, Jingdezhen, Jiangxi, porcelain, underglaze blue decoration, 27.2 cm (diam.); Elizabeth and Tom Hunter Fund 1989, Art Gallery of South Australia, Adelaide.

The epic story continues after the greatest advances ever in tea production and tea culture in the Song. After surviving the Mongol Yuan Dynasty Camellia Sinensis experiences revolutionary improvements with the founding of the Ming Dynasty by Zhu Yuanzhang. Now tea starts to become more familiar to us after the Hongwu Emperor demands all future tribute teas must be sent in loose-leaf form. With loose leaf teas came greater demands for teaware. The history of the kilns of Jingdezhen is introduced, along with their calling card: Blue and White porcelain, China's first global brand. Other innovations such as teas scented with flowers and the Tea Manual of Zhu Quan are also discussed. Support this podcast at — https://redcircle.com/the-tea-history-podcast/donations Advertising Inquiries: https://redcircle.com/brands Learn more about your ad choices. Visit megaphone.fm/adchoices Learn more about your ad choices. Visit megaphone.fm/adchoices

On today's show, I have Diana Zheng one-half of the founders of Three Gems Tea based in Los Angles. Ayumi and Diana started Three Gems Tea to make tea breaks easy and wanted to create something but keep it good, simple, and fun by sourcing delicious loose leaf teas from family farms and designing teaware with a pop to brighten your table.Their teas are grown in China and Taiwan, on family farms that use holistic growing practices and forgo pesticides. The teaware that they provide is handcrafted by a small studio of artisans in Jingdezhen, the history-steeped ceramics capital of China. Whenever the ladies returned to China, they loved the unfussy way that families drank tea together — low-key gatherings that inspired them both to share the magic of a casual tea break with the rest of the world, and with great design too.At present Three Gems tea is launching a series of botanical herbal teas, a project collaboration with Windrose farm based in California. The new packaging has been designed to be fully eco-friendly and biodegradable. Check out Three Gems Tea Website: https://threegemstea.com/Support the Kickstarter campaign: https://www.kickstarter.com/projects/threegemstea/botanical-teas/Follow Three Gems Tea on Instagram here: https://www.instagram.com/threegemstea/Check out their fantastic Brewing guide here: https://threegemstea.com/pages/brew-guideCheck out Diana's website: https://dianazheng.com/Check out Ayumi's beautiful Illustrations on her website: http://www.ayumitakahashi.com/Jia Cookbook website: https://www.jiacookbook.com/Support the show (https://www.buymeacoffee.com/buyacuppatea)

Thank you for listening to this track produced by the Art Gallery of South Australia. Join us as Russell Kelty, Associate Curator of Asian Art, discusses a 16th century Japanese screen depicting the arrival of a Portuguese ship in A Vast Emporium: Artistic and cultural exchange in an age of global trade in Gallery 21. For more information please visit agsa.sa.gov.au Image: China, Jiangxi, Plate, with sailing ship, 1700-20, Jingdezhen, Jiangxi, porcelain, underglaze blue decoration, 27.2 cm (diam.); Elizabeth and Tom Hunter Fund 1989, Art Gallery of South Australia, Adelaide.

This weeks show's  guests are Vivian and Lorenzo the founders of Eastern Tea Leaves. The couple fell in love with an ancient tea forest ensconced in the dreaming mountains of southwest Yunnan.Eastern Leaves owns thirty hectares of wild tea plantation land in the mountains, which flourishes naturally in the undergrowth of centuries-old Yunnan high mountain forest.Their teas are fully organic, and they interfere as little as possible with the growth of their trees. This is the reason they call themselves wild forest keepers rather than farmers.Alongside their Project in Yunan, they run a tea room/ tea studio in Milan. It is a place they long dreamed of, made of wood, beautifly designed with unique hand-made ceramics from Yixing and Jingdezhen and Suyuan furniture, a bespoke furniture brand based in Beijing.Eastern Leaves serve tasting menus with fine and rare teas, brewed in Chinese style gongfucha. Check out Eastern Tea leave's website here: https://easternleaves.com/Follow Eastern Tea Leaves on Instagram here: https://www.instagram.com/easternleaves.milan/ and here: https://www.instagram.com/eastern.leaves/Suyuan Furniture website: https://www.suyuanfurniture.com/Support the show (https://www.buymeacoffee.com/buyacuppatea)

Wie nähert man sich im Studium einem so komplexen Material wie Porzellan? Und wie funktioniert das Wechselspiel von traditionellem Handwerk und digitalen Werkzeugen im Prozess? In Folge 24 des Hurra Hurra Podcasts sprechen Christian Zöllner und Laura Straßer über die Arbeit in Jingdezhen, der Porzellan Hauptstadt Chinas, und erörtern, warum Porzellan bis heute nichts von seiner Relevanz verloren hat. Außerdem erzählt die neuberufene Professorin Für Keramik- und Glasdesign an der BURG davon, was es bedeutet, sich als Designerin selbst kopieren zu lassen.

“BING ! BING ! 砰砰!”Céramique contemporaineà ICICLE – 35 avenue George V, Parisdu 1er mars au 8 septembre 2021Interview de Bérénice Angremy, Victoria Jonathan et Gabrielle Petiau pour l'agence Doors 门艺, commissaires de l'exposition,par Anne-Frédérique Fer, à Paris, le 18 mars 2021, durée 16'30, © FranceFineArt.(par téléphone avec Bérénice Angremy de Chine et Victoria Jonathan de Paris)Commissariat d'exposition :Doors 门艺 – Bérénice Angremy, Victoria Jonathan, Gabrielle PetiauExposition collective avec les artistes : Liu Jianhua, emmanuel boos, Geng Xue, Zhuo Qi et Louise FrydmanEn écho à son thème de collection prêt-à-porter inspirée par « la Terre » pour l'année 2021, ICICLE est heureux d'accueillir du 1er mars au 8 septembre dans son espace culturel du 35 avenue George V, Paris 8, une exposition sur la céramique contemporaine dont la curation est confiée à l'agence Doors. Quelle plus belle façon de célébrer la terre que de révéler les possibilités artistiques de ses matières premières ? « BING ! BING ! 砰砰! Céramique contemporaine » fait dialoguer cinq artistes chinois et français. Chacun à leur manière, Liu Jianhua (1962), emmanuel boos (1969), Geng Xue (1983), Zhuo Qi (1985) et Louise Frydman (1989) réinterprètent de façon actuelle l'art traditionnel de la céramique.En mandarin, le caractère 砰 (pēng) est l'équivalent de l'onomatopée « bing ! » du français : il évoque un bruit de choc, de heurt, et signifie une rupture, un événement soudain venant modifier la réalité.Dans une rencontre entre Orient et Occident, les artistes de « BING ! BING !» jouent avec les qualités matérielles de la céramique, à la fois fragile et solide, propice à l'accident, et les implications culturelles d'un art devenu patrimoine aussi bien en Chine (Jingdezhen, Yixing) qu'en France (Sèvres, Limoges, Gien). La céramique est saisie dans tous ses états, métamorphosée, soumise à des expérimentations : sculpture, écriture, performance et vidéo. Dans une friction des langages esthétiques et des significations culturelles liées au médium, usant – parfois avec humour – de jeux de mots, de ruptures de ton et d'effets de matières, ces artistes font exploser les codes de la céramique et la donnent à voir de façon surprenante. Grands noms de la céramique contemporaine comme Liu Jianhua et emmanuel boos, et artistes de la jeune génération comme Geng Xue, Zhuo Qi et Louise Frydman, tous explorent ses spécificités physiques, matière organique prenant forme grâce au geste de l'artiste et aux techniques qu'il emploie, mais aussi ses limites. Souple et malléable dans son état premier, résistant à des chocs thermiques pouvant dépasser 1300°C lors de sa cuisson, pour finir d'une grande fragilité dans son état « solide », la céramique se prête à des variations de brillance et de couleur d'une profondeur infinie ou au contraire à une extrême blancheur. « BING ! BING !» questionne aussi la relation entre l'artiste et la matière, le dialogue qu'il entretient avec la terre et le feu, dans une tension entre maîtrise et hasard, intention et accident, virtuosité et émotion. Les oeuvres de l'exposition évoquent ainsi l'empreinte de l'artiste sur la matière, parfois jusqu'à faire corps avec elle. Les artistes Liu Jianhua (né en 1962 à Ji'an, Chine) est l'un des artistes chinois les plus renommés de sa génération. Arrivé à Jingdezhen à 15 ans, il passe quatorze ans dans la capitale chinoise de la porcelaine à se former à cet art. Avec ses sculptures et installations mêlant porcelaine, objets trouvés, détritus et matériaux hétéroclites, il développe une pratique expérimentale de la céramique et une approche philosophique de la forme et de la matière. Ses oeuvres à la fois virtuoses et poétiques défient les limites physiques du médium et les attentes du spectateur. Liu interroge la culture et l'histoire matérielle de la Chine dans le contexte de la mondialisation. « Regular Fragile », présentée à la Biennale de Venise en 2003 dans le pavillon Chine, est une série de répliques en porcelaine d'objets du quotidien, faisant primer l'apparence et le symbolisme sur la fonction. En 2008, sa pratique évolue vers des formes plus abstraites et minimalistes (« pas de sens, pas de contenu »). Depuis 2004, Liu est professeur de sculpture à l'École des Beaux-Arts de l'université de Shanghai. En 2005, il crée le groupe Polit-Sheer-Form Office avec les artistes Hong Hao, Xiao Yu, Song Dong, et le critique d'art Leng Lin. http://www.liujianhua.netConsidéré comme l'un des meilleurs céramistes français, emmanuel boos (né en 1969 à Saint-Étienne, France) pratique cet art depuis l'âge de 14 ans. C'est après quelques années en Asie (Corée et Chine) qu'il s'y consacre professionnellement. Apprenti auprès du Maître d'art Jean Girel entre 2000 et 2003 pour la porcelaine tournée à la française, il gagne très vite de nombreux prix : jeune créateur de l'année des Ateliers d'Art de France, Prix Découverte du Salon Maison & Objet, 2ème lauréat du prix national SEMA, Grand Prix de la Création de la Ville de Paris. La galerie Jousse Entreprise le repère en 2005. Depuis, il est exposé chaque année dans les grandes foires internationales de design et d'arts appliqués : FIAC, PAD Londres et Paris, Design Miami Basel. Il s'installe à Londres en 2006 pour y mener une thèse de doctorat par la pratique artistique sur le thème de la « poétique de l'émail », soutenue en 2012 au Royal College of Art sous la direction du célèbre céramiste et écrivain anglais Emmanuel Cooper. En 2010, il participe à l'exposition « La Scène Française » au Musée des Arts Décoratifs à Paris. Ses oeuvres sont exposées à Londres, Belfast, Édimbourg, Copenhague. Depuis 2015, il vit entre Paris et Mannheim (Allemagne), où est installé son atelier et où il se consacre à plusieurs projets de céramique architecturale, notamment avec les décorateurs Caroline Sarkozy, Studio Shamshiri et Heather Wells. Entre 2016 et 2019, il est artiste en résidence à la Manufacture de Sèvres. Invité par le laboratoire qui conçoit et fabrique pâtes et émaux de la Manufacture, il s'intéresse notamment au thème de la palette d'émail et réalise plusieurs séries d'oeuvres : « Cubes », « Monolithes », « Livres » et « Stabiles ». Depuis quelques années, il privilégie les formes closes, faussement pleines, à la fois surfaces et volumes : pavés, cubes, boîtes ou livres, mystérieuses et abstraites. Il crée aussi un parcours pour la couleur, en creux et à-pics sur lequel les émaux colorés pourront déployer toutes les nuances de leurs tonalités en s'accumulant par endroits et en disparaissant presque à d'autres. L'artiste est à l'affût de l'inattendu et d'accidents heureux et à la recherche du « bel imparfait ». http://www.emmanuelboos.infoGeng Xue (née en 1983 à Baishan, Chine) est une artiste « multimédias » qui confronte l'art traditionnel de la céramique à des formes contemporaines (vidéo, animation, installation). Étudiante de Karlsruhe University of Arts and Design (Allemagne) et diplômée de l'Académie Centrale des Beaux-Arts de Chine (CAFA) où elle a étudié sous la direction du célèbre artiste Xu Bing, Geng Xue se fait connaître en 2014 avec « Mr Sea », vidéo tournée en stop-motion, dans laquelle des personnages de porcelaine prennent vie dans une réinterprétation d'un célèbre conte de fantômes datant de la dynastie Qing (« Contes étranges du studio du bavard » de Pu Songling). Inspirée par la riche tradition de la céramique chinoise, Geng exploite les qualités matérielles uniques et les significations associées à ce médium. Cosmologie bouddhiste, littérature classique et taoïsme fournissent les thèmes de fictions mettant en scène la capacité de transformation de la céramique et sa nature tout à la fois fragile et solide, dans des univers presque magiques, où la frontière est ténue entre monde physique et monde spirituel. Geng Xue s'inspire également de ses voyages et de son immersion dans d'autres cultures pour entrer en résonance avec la tradition esthétique occidentale.Diplômé de l'École Supérieure des Beaux-Arts du Mans, de la Haute École d'Art et de Design de Genève, et de l'École nationale supérieure d'art de Limoges, Zhuo Qi (né en 1985 à Fuxin, Chine) travaille et vit en France depuis 2008. En tant qu'artiste, la démarche de Zhuo Qi repose sur la notion de choc des cultures. Il nourrit sa pratique artistique de l'expérience quotidienne des miracles sémantiques et linguistiques que génèrent l'altérité culturelle et son lot d'incompréhensions. Il se rend régulièrement à Jingdezhen, une ville considérée comme la capitale mondiale de la porcelaine. Avec humour, il confronte à travers la céramique les traditions et les savoir-faire, que la mondialisation rapproche sans transition ni traduction. Chez lui, la porcelaine est à la fois le moyen et le sujet d'une cuisine expérimentale tournée vers la création d'objets impliquant des corps étrangers plongés dans des environnements incongrus, énigmatiques, voire hostiles, mais toujours sources d'amusement. http://www.qi-zhuo.comDiplômée en arts graphiques de l'école d'art ESAG-Penninghen et formée en photographie à l'International Center of Photography de New York, Louise Frydman (née en 1989 à Paris) commence par composer des oeuvres légères et délicates en papier blanc puis se tourne vers la céramique en 2015 lorsqu'elle crée sa pièce monumentale « La Fée des Pétales » suspendue dans la cour de l'Hôtel de Croisilles, à Paris. Elle conserve dans son traitement de la céramique la matité blanche du papier ainsi que la finesse de la matière. Fragiles et fortes à la fois, les créations de Louise Frydman révèlent un univers naturel poétique, magnifié par l'éclat de leur blancheur. Ses sculptures, inspirées des formes de la nature, jouent avec la lumière et le mouvement. « Je recherche la rencontre entre force et fragilité en travaillant mes sculptures de manière éthérée dans leurs formes, et puissante par leurs dimensions souvent monumentales. Un pétale, un arbre, le vent… C'est mon émotion que j'essaie de donner à voir. » Sa rencontre avec le céramiste Jean-François Reboul en 2015 lui permet d'approfondir son apprentissage et de s'affirmer dans sa démarche artistique. Son atelier est installé en Bourgogne depuis 2015. https://louise-frydman.com/Exposition en partenariat avec Pace Gallery, Jousse Entreprise, Loo & Lou Gallery. Remerciements : Cité de la céramique – Manufacture de Sèvres.Doors 门艺Créée en 2017 par Bérénice Angremy et Victoria Jonathan, Doors 门艺est une agence de production et de promotion de projets artistiques basée à Pékin et Paris. Doors a pour ambition d'ouvrir des portes et de favoriser les échanges culturels entre la Chine et l'Europe, à travers des événements créatifs, innovants et fédérateurs. Elle collabore avec des artistes, des institutions (Musée Picasso, UCCA, Fondation Giacometti, Fondation Henri Cartier-Bresson) et des marques (Hennessy, Lafite, Cartier). En 2021, Doors organise l'exposition « KAIWU. Art et design en Chine » au Musée de l'Hospice Comtesse (Lille).Respectivement diplômées de l'École du Louvre (Paris) et de Columbia University (New York), Bérénice Angremy et Victoria Jonathan vivent entre Paris et Pékin depuis vingt ans. Elles ont dirigé le festival Jimei x Arles (2017-2019), créé en Chine par Les Rencontres d'Arles et Three Shadows Photography Art Centre. Elles sont commissaires de plusieurs expositions sur l'art et la photographie chinois : « Les Etoiles 1979-2019. Pionniers de l'art contemporain en Chine » (Paris, 2019), « Les flots écoulés ne reviennent pas à la source. Regards de photographes sur la rivière en Chine » (Abbaye de Jumièges, 2020), « Feng Li. White Night in Paris » (Photo Saint Germain, 2021), « Luo Yang. Youth » (Jimei x Arles, 2019), « Lei Lei. Cinéma Romance à Lushan » (Les Rencontres d'Arles et Jimei x Arles, 2019). Diplômée des Beaux-Arts de Nantes, et ancienne élève de l'Académie Centrale des Beaux-Arts de Chine (CAFA), Gabrielle Petiau a rejoint l'équipe de Doors en 2019. Elle est co-directrice de la Biennale de l'Image Tangible.Boutique ICICLE – 35 avenue George V – Paris VIIIInauguré en septembre 2019 comme première adresse internationale, cet espace sculptural et immaculé s'étend sur trois étages d'un hôtel particulier, 35 avenue George V, au coeur du Triangle d'Or parisien. Conçu par l'architecte belge Bernard Dubois, il intègre, sur un espace de près de 500m2, les collections femme, homme et accessoires ainsi qu'une librairie et une salle d'exposition qui reflètent la philosophie de la marque, fondée sur une approche naturelle de la création, pour une vie en accord avec la Nature. Espace culturel ICICLE : Avec plus de 500 ouvrages, ponts entre la culture chinoise et occidentale, la librairie ICICLE, située au troisième étage de la boutique George V, explore les façons d'être, de vivre et de créer selon la Nature. Elle s'ouvre sur une galerie, espace lumineux et aérien, destinée à recevoir des expositions d'art et de design. Voir Acast.com/privacy pour les informations sur la vie privée et l'opt-out.

In this episode, Gabe welcomes another longtime friend and fellow aspiring creative renaissance man, Clay Blackwell, to the podcast. The two discuss their influences, processes, and struggles, all while weaving in plenty of personal anecdotes. Clay is a Brooklyn-based multi-disciplinary artist (with work spanning ceramics, music, visual art, and writing). His work has been exhibited both nationally and internationally, most notably at the Museum of Art and Design in New York City and in China's porcelain capital, Jingdezhen.Clayton Blackwell on Soundcloudclaytonblackwell.com

“Zhuo Qi” Etrangement Beauà la Galerie Paris-Beijing, Parisdu 23 janvier au 6 mars 2021Extrait du communiqué de presse :La galerie Paris-Beijing accueillie pour la première fois le travail du sculpteur et céramiste Zhuo Qi dans l'espace du PB project. Zhuo Qi est né en Chine en 1985 à Fuxin, il vit et travaille en France depuis 2008.Au cours du dernier trimestre 2020, Zhuo Qi a été invité en résidence par la Fondation Martell à Cognac. La fondation lui a offert la possibilité rare d'avoir accès illimité à un atelier de souffleur de verre; c'est ainsi qu'il a pu développer sa dernière série d'oeuvres Bubble-Game mêlant sculptures antiques chinoises et technique du soufflage de verre.En tant qu'artiste, la démarche de Zhuo Qi repose sur la notion de choc des cultures. La rencontre entre la culture chinoise et la culture occidentale est un élément fondateur de son travail, tant sur le plan linguistique, historique que sur celui de la tradition et des techniques de la céramique qu'il s'est vu enseignées à l'ENSA Limoges. Originaire de la ville de Fuxin en Chine, il se rend régulièrement à Jingdezhen, une ville considérée comme la capitale mondiale de la porcelaine. Il trouve dans les montagnes de déchets générés par cette industrie une partie de sa matière première, une matière chargée d'histoire, histoire qu'il se charge de restaurer, tel un céramiste iconoclaste, en intervenant directement sur les morceaux de céramique par divers procédés qu'on pourrait croire expérimentaux mais qui se révèlent parfaitement maitrisés.Il en résulte une technique propre qui conjugue les traditions chinoise et française, dans laquelle la porcelaine est à la fois le matériau et le sujet. Zhuo Qi utilise cette matière de façon radicale et performative, bouleversant les formes traditionnelles du céramiste pour créer des sculptures surprenantes qui rompent complètement avec l'usage habituel des objets.Sa nouvelle série de sculptures Bubble-Game, qui sera exposée à la galerie, s'inscrit parfaitement dans la continuité de son oeuvre mais la matière première évolue; Ce n'est plus la céramique que l'artiste malmène mais d'excellentes reproductions de sculptures chinoises antiques qu'il a préalablement et méticuleusement collectionnées au cours de ses déplacements en Chine.Souvent détériorées par le temps, ces sculptures sont cassées, fracturées avec des membres manquants. Zhuo Qi s'est mis en tête de leur redonner vie, de les restaurer à sa manière: il va utiliser le verre soufflé pour combler le vide, la partie disparue, ainsi l'oeuvre d'art préexistante devient une autre oeuvre, une nouveau cycle de vie se crée rappelant les cycles de réincarnation bouddhistes. L'alchimie qui s'opère entre la forme de la sculpture de pierre originale parfois millénaire et l'aspect contemporain et délicat du verre coloré qui la porte nous conduit vers l'étrange, l'incongru, des notions chères à l'artiste pour qui l'humour et la transgression sont des formes naturelles de communication. Le contemplateur est saisi par le paradoxe qui entoure chaque oeuvre de la série; A l'esthétique et à la puissance de ces sculptures de bouddhas millénaires s'ajoute celle de ces coussins de verre fragiles et colorés: tout cela est étrangement beau…Zhuo Qi est né en Chine en 1985 à Fuxin, la province du Liaoning. Diplomé avec félicitations de jury de DNSEP et de DNAP à l'École Supérieure des Beaux-Arts du Mans, post-diplôme DAS à Haute École d'Art et de Design Genève, et post diplôme du Programme KAOLIN de l'ENSA Limoges, Il travaille et vit en France depuis 2008. Il était en résidence à la Fondation Martell à Congnac en 2020. Voir Acast.com/privacy pour les informations sur la vie privée et l'opt-out.

We think of blue and white porcelain as the ultimate global commodity: throughout East and Southeast Asia, the Indian Ocean including the African coasts, the Americas and Europe, consumers desired Chinese porcelains. Many of these were made in the kilns in and surrounding Jingdezhen. Found in almost every part of the world, Jingdezhen's porcelains had a far-reaching impact on global consumption, which in turn shaped the local manufacturing processes. The imperial kilns of Jingdezhen produced ceramics for the court, while nearby private kilns manufactured for the global market.  In The City of Blue and White: Chinese Porcelain and the Early Modern World (Cambridge UP, 2020), Anne Gerritsen asks how this kiln complex could manufacture such quality, quantity and variety. She explores how objects tell the story of the past, connecting texts with objects, objects with natural resources, and skilled hands with the shapes and designs they produced. Through the manufacture and consumption of Jingdezhen's porcelains, she argues, China participated in the early modern world. Learn more about your ad choices. Visit megaphone.fm/adchoices

We think of blue and white porcelain as the ultimate global commodity: throughout East and Southeast Asia, the Indian Ocean including the African coasts, the Americas and Europe, consumers desired Chinese porcelains. Many of these were made in the kilns in and surrounding Jingdezhen. Found in almost every part of the world, Jingdezhen's porcelains had a far-reaching impact on global consumption, which in turn shaped the local manufacturing processes. The imperial kilns of Jingdezhen produced ceramics for the court, while nearby private kilns manufactured for the global market.  In The City of Blue and White: Chinese Porcelain and the Early Modern World (Cambridge UP, 2020), Anne Gerritsen asks how this kiln complex could manufacture such quality, quantity and variety. She explores how objects tell the story of the past, connecting texts with objects, objects with natural resources, and skilled hands with the shapes and designs they produced. Through the manufacture and consumption of Jingdezhen's porcelains, she argues, China participated in the early modern world.

We think of blue and white porcelain as the ultimate global commodity: throughout East and Southeast Asia, the Indian Ocean including the African coasts, the Americas and Europe, consumers desired Chinese porcelains. Many of these were made in the kilns in and surrounding Jingdezhen. Found in almost every part of the world, Jingdezhen's porcelains had a far-reaching impact on global consumption, which in turn shaped the local manufacturing processes. The imperial kilns of Jingdezhen produced ceramics for the court, while nearby private kilns manufactured for the global market.  In The City of Blue and White: Chinese Porcelain and the Early Modern World (Cambridge UP, 2020), Anne Gerritsen asks how this kiln complex could manufacture such quality, quantity and variety. She explores how objects tell the story of the past, connecting texts with objects, objects with natural resources, and skilled hands with the shapes and designs they produced. Through the manufacture and consumption of Jingdezhen's porcelains, she argues, China participated in the early modern world. Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/chinese-studies

We think of blue and white porcelain as the ultimate global commodity: throughout East and Southeast Asia, the Indian Ocean including the African coasts, the Americas and Europe, consumers desired Chinese porcelains. Many of these were made in the kilns in and surrounding Jingdezhen. Found in almost every part of the world, Jingdezhen's porcelains had a far-reaching impact on global consumption, which in turn shaped the local manufacturing processes. The imperial kilns of Jingdezhen produced ceramics for the court, while nearby private kilns manufactured for the global market.  In The City of Blue and White: Chinese Porcelain and the Early Modern World (Cambridge UP, 2020), Anne Gerritsen asks how this kiln complex could manufacture such quality, quantity and variety. She explores how objects tell the story of the past, connecting texts with objects, objects with natural resources, and skilled hands with the shapes and designs they produced. Through the manufacture and consumption of Jingdezhen's porcelains, she argues, China participated in the early modern world. Learn more about your ad choices. Visit megaphone.fm/adchoices

We think of blue and white porcelain as the ultimate global commodity: throughout East and Southeast Asia, the Indian Ocean including the African coasts, the Americas and Europe, consumers desired Chinese porcelains. Many of these were made in the kilns in and surrounding Jingdezhen. Found in almost every part of the world, Jingdezhen's porcelains had a far-reaching impact on global consumption, which in turn shaped the local manufacturing processes. The imperial kilns of Jingdezhen produced ceramics for the court, while nearby private kilns manufactured for the global market.  In The City of Blue and White: Chinese Porcelain and the Early Modern World (Cambridge UP, 2020), Anne Gerritsen asks how this kiln complex could manufacture such quality, quantity and variety. She explores how objects tell the story of the past, connecting texts with objects, objects with natural resources, and skilled hands with the shapes and designs they produced. Through the manufacture and consumption of Jingdezhen's porcelains, she argues, China participated in the early modern world.

We think of blue and white porcelain as the ultimate global commodity: throughout East and Southeast Asia, the Indian Ocean including the African coasts, the Americas and Europe, consumers desired Chinese porcelains. Many of these were made in the kilns in and surrounding Jingdezhen. Found in almost every part of the world, Jingdezhen's porcelains had a far-reaching impact on global consumption, which in turn shaped the local manufacturing processes. The imperial kilns of Jingdezhen produced ceramics for the court, while nearby private kilns manufactured for the global market.  In The City of Blue and White: Chinese Porcelain and the Early Modern World (Cambridge UP, 2020), Anne Gerritsen asks how this kiln complex could manufacture such quality, quantity and variety. She explores how objects tell the story of the past, connecting texts with objects, objects with natural resources, and skilled hands with the shapes and designs they produced. Through the manufacture and consumption of Jingdezhen's porcelains, she argues, China participated in the early modern world. Learn more about your ad choices. Visit megaphone.fm/adchoices

We think of blue and white porcelain as the ultimate global commodity: throughout East and Southeast Asia, the Indian Ocean including the African coasts, the Americas and Europe, consumers desired Chinese porcelains. Many of these were made in the kilns in and surrounding Jingdezhen. Found in almost every part of the world, Jingdezhen's porcelains had a far-reaching impact on global consumption, which in turn shaped the local manufacturing processes. The imperial kilns of Jingdezhen produced ceramics for the court, while nearby private kilns manufactured for the global market.  In The City of Blue and White: Chinese Porcelain and the Early Modern World (Cambridge UP, 2020), Anne Gerritsen asks how this kiln complex could manufacture such quality, quantity and variety. She explores how objects tell the story of the past, connecting texts with objects, objects with natural resources, and skilled hands with the shapes and designs they produced. Through the manufacture and consumption of Jingdezhen's porcelains, she argues, China participated in the early modern world. Learn more about your ad choices. Visit megaphone.fm/adchoices

We think of blue and white porcelain as the ultimate global commodity: throughout East and Southeast Asia, the Indian Ocean including the African coasts, the Americas and Europe, consumers desired Chinese porcelains. Many of these were made in the kilns in and surrounding Jingdezhen. Found in almost every part of the world, Jingdezhen's porcelains had a far-reaching impact on global consumption, which in turn shaped the local manufacturing processes. The imperial kilns of Jingdezhen produced ceramics for the court, while nearby private kilns manufactured for the global market.  In The City of Blue and White: Chinese Porcelain and the Early Modern World (Cambridge UP, 2020), Anne Gerritsen asks how this kiln complex could manufacture such quality, quantity and variety. She explores how objects tell the story of the past, connecting texts with objects, objects with natural resources, and skilled hands with the shapes and designs they produced. Through the manufacture and consumption of Jingdezhen's porcelains, she argues, China participated in the early modern world. Learn more about your ad choices. Visit megaphone.fm/adchoices

We think of blue and white porcelain as the ultimate global commodity: throughout East and Southeast Asia, the Indian Ocean including the African coasts, the Americas and Europe, consumers desired Chinese porcelains. Many of these were made in the kilns in and surrounding Jingdezhen. Found in almost every part of the world, Jingdezhen's porcelains had a far-reaching impact on global consumption, which in turn shaped the local manufacturing processes. The imperial kilns of Jingdezhen produced ceramics for the court, while nearby private kilns manufactured for the global market.  In The City of Blue and White: Chinese Porcelain and the Early Modern World (Cambridge UP, 2020), Anne Gerritsen asks how this kiln complex could manufacture such quality, quantity and variety. She explores how objects tell the story of the past, connecting texts with objects, objects with natural resources, and skilled hands with the shapes and designs they produced. Through the manufacture and consumption of Jingdezhen's porcelains, she argues, China participated in the early modern world. Learn more about your ad choices. Visit megaphone.fm/adchoices

Today on the Tales of a Red Clay Rambler Podcast I have an interview with Jennifer Ling Datchuk. She was raised in a bicultural household and makes sculpture, installation, and performance art that address identity and womanhood. In our interview we talk about the role hair and self-objectification play in her performance art, working in Jingdezhen, and how her understanding of identity changes through art making. She is based in San Antonio, TX, where she teaches at the Southwest School of Art. To find out more about Jennifer visit www.jenniferlingdatchuk.com.   On today’s Amaco Community Corkboard we have the EQCLAY20 Scholarships at Sonoma Community Center. The Equity in Clay Scholarships have been generously co-sponsored by AMACO Brent and provide a reduced $5 registration fee to the Virtual Ceramic Surface Series for those who self-identify as an underrepresented or marginalized individual. To receive the discount, BIPOC and LGBTQIA+ participants simply register for the workshop of their choice, using the code EQCLAY20. For more information or to register visit www.sonomacommunitycenter.org/surface-series-2020/

Nine years ago Tiffany Saw touched clay for the first time and instantly fell in love. After spending years in NYC community studios learning to throw, Tiffany went to Jingdezhen, China to refine her carving techniques. Tiffany is inspired by traditional Chinese and Burmese imagery and loves spending hours carving her pots!

上海に住んでいた時に行った中国旅行パート３。 黄山へは友人とツアーで、景徳鎮は夫と、深センにはシンガポールへ行く途中に香港経由で行った際に深センに住む友人を訪ねました。 Part 3 of my trip of China when I lived in Shanghai. I joined a tour to Huangshan and Jingdezhen is I visited there with my husband. I traveled to a friend who lived in Shenzhen on my way to Singapore via Hong Kong. 黄山 huangshan https://www.tripadvisor.jp/Attraction_Review-g303685-d550738-Reviews-Mt_Huangshan-Huangshan_Anhui.html --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/ayumi8/message

Mimi Lau explains how two months of record-breaking torrential rains and decades of land reclamation and waterway diversion have helped contribute to the ongoing flood crisis in the Yangtze River basin, home to a third of mainland China's population. Field reporter Phoebe Zhang details what she found as she travelled from Wuhan to Poyang Lake and the historic 'ceramics capital' Jingdezhen, reporting on the unfolding disaster and witnessing the response from locals and authorities. 

As quarantine drags on, Cammi and Gus talk about playing guitar. They also interview Snow Yu, a sculptor originally from Jingdezhen, China, the porcelain capital of the world. Snow, Cammi and Gus talk about Cincinnati vs. Jingdezhen, grad schools and residencies. Snow tells us about the body and her work and how the US has changed her. You can check out her work on her website.

CCP officials are told to prepare for global crisis—including tensions with the United States, food shortages, currency wars, and others—and are being told to prepare “countermeasures” Zhou Li, the former deputy minister of the CCP’s Central Liaison Department, tied to its political warfare programs, recently issued an article in China Social Science News stating “The Party Central Committee demands that our leading cadres at all levels ‘should adhere to the bottom line thinking and make a long-term ideological preparation and work preparation for responding to changes in the external environment."’ And a 400-year-old bridge was destroyed by the floods in Shanxi Town in Anhui, China, which had been built during the Ming Dynasty. The destruction of the second largest stone arch bridge in the region was one of the latest scenes in the ongoing floods in 26 provinces and cities in China. And in HuangShan, AnHui, JingdeZhen, ShangRao, Yichang, Changyang, and other parts of China the heavy rains continue to collapse roads and destroy homes. These stories and more in this episode of Crossroads. ⭕️ Subscribe for updates : http://bit.ly/CrossroadsYT ⭕️ Donate to support our work: https://www.bestgift.tv/crossroads ⭕️ Join Patreon to Support Crossroads: https://www.patreon.com/Crossroads_Josh

With the amount of busyness, neverending work or so much happening on our phones, it can be easy to forget to take the time we all need to connect with ourselves and the people we care about. In this episode I talk with Three Gems Tea, a tea company with the mission of helping you slow down to enjoy amazing tea with yourself and others in an approachable way. We talk about how they came to create Three Gems Tes, what gong fu tea is and how to connect with yourself.   About Three Gems Tea Three Gems Tea helps you discover the magic of a shared tea break by bringing you loose leaf teas, thoughtfully designed teaware, and bite size portions of tea education. Their first collection includes a range of single origin, direct trade oolongs — from bright & grassy to dark & woodsy — and a reimagined gong fu tea set, hand painted by artisans in China’s ceramics capital, Jingdezhen. They’re making it easy to fold tea time into your daily rituals, as a delicious way to hit pause and connect with yourself and the people you care about.   Small Steps in the Show:  Read a physical book or magazine that’s not on a screen that’s not related to your field or that’s fiction-related. Cook creatively and intuitively for others or yourself Take breaks outside and be in nature Take a moment when you’re out to connect with yourself Move your body in a fun or silly way (maybe a dance class) Have a tea ceremony with friends or family   Mentioned in the Show: Buy my Enamel Pin The Cosmos Diana’s Cookbook, Jia! Three Gems Tea’s Website Buy Three Gems Tea Follow Three Gems Tea on Instagram | Facebook   Get the full show notes here! Follow Aimee on Instagram | Facebook | Pinterest Sign up for the Wellness Wednesdays Newsletter Interested in working with Aimee? Find out information here. Edited by Eilise Bonebright

Researcher Xiaofang Zhan visits Jingdezhen, the ceramic centre of China, and discusses the industrial changes the city and surrounding region have undergone in the late 20th century. This podcast is a collaboration between Disegno and the British Council, the United Kingdom’s international organisation for cultural relations and educational opportunities. See acast.com/privacy for privacy and opt-out information.

Jennifer Ling Datchuk is an artist born in Warren, Ohio and raised in Brooklyn, New York.  Her mother came to this country in the early 1970s from China; her father born and raised in Ohio to Russian and Irish immigrant parents.  Beyond initial appearances, the layers of her parents’ past and present histories are extremely overwhelming and complicated – a history of conflict she has inherited and a perpetual source for her work.  She captures this conflict by exploring the emotive power of domestic objects and rituals that fix, organize, soothe and beautify our lives.  Trained in ceramics, the artist works with porcelain and other materials often associated with traditional women’s work, such as textiles and hair, to discuss fragility, beauty, femininity, intersectionality, identity and personal history. She holds an MFA in Artisanry from the University of Massachusetts Dartmouth and a BFA in Crafts from Kent State University. She has received grants from the Artist Foundation of San Antonio, travel grant from Artpace, and the Linda Lighton International Artist Exchange Program. She was awarded a residency through the Blue Star Contemporary Art Museum to conduct her studio practice at the Künstlerhaus Bethanien in Berlin, Germany and has participated in residencies at the Pottery Workshop in Jingdezhen, China, Vermont Studio Center, and the European Ceramic Work Center in the Netherlands. In 2017, she received the Emerging Voices award from the American Craft Council. Recently, she completed a residency and exhibition curated by Dr. Debra Willis for Artpace.  She lives in San Antonio, Texas where she maintains a studio and teaching practice. In the interview three projects were discussed; The upcoming project at Black Cube called "The Fulfillment Center", "Babe Cave" at Truth Before Flowers at Women and Their Work and Big curtain of red hair at thick at Artpace. The book mentioned in the interview is:  Her Body and Other Parties. Don’t Touch My Hair, fake hair, porcelain beads from Jingdezhen, China Originally commissioned and produced by Artpace San Antonio Photo credit Seale Photography Studios Don’t Touch My Hair, Detail, fake hair, porcelain beads from Jingdezhen, ChinaOriginally commissioned and produced by Artpace San AntonioPhoto credit Seale Photography Studios

Cette semaine je reçois Céline Salomon, une jeune architecte qui a décidé de suivre ses envies et donner une nouvelle direction a sa vie professionnelle. Aujourd’hui elle a créé son propre studio de céramique : l’Atelier ZU. L’histoire de Céline est passionnante pk elle a non seulement un talent fou, vous verrez sa première collection est sublime mais en plus, elle a une vraie volonté de tout connaitre sur la matière qu’elle travaille. Céline n’est pas vraiment du genre à faire les choses à moitié, puisqu’elle est partie vivre en Chine dans la capitale mondiale de la porcelaine, à Jingdezhen; ville, qui de prime abord n’est pas vraiment accueillante. Céline ne parle pas un mot de chinois ; elle y reste pourtant 2 ans ! Dans cet épisode, Céline nous raconte cette expérience incroyable, elle nous parle de ses rencontres avec les maitres artisans chinois qui lui ont fait découvrir la porcelaine et qui lui ont transmis un savoir-faire ancestral. Elle explique également de comment aujourd’hui, de retour en France, elle utilise ces techniques traditionnelles pour mettre en valeur des formes et une esthétique plus contemporaines. On termine comme d’habitude par parler de sa définition du Beau et des lieux qui l’inspirent. Je ne vous en dis pas plus et laisse place à ma place à ma conversation Très bonne écoute °° POUR RETROUVER LA COLLECTION D’ATELIER ZU °° Sur le site internet : https://www.atelier-zu.com Sur Instagram : https://www.instagram.com/atelier.zu/?hl=en A paris les 5 - 6 - 7 juillet dans un Pop Up au 54 rue Charlot dans le 3eme arrondissement de Paris °° SUIVEZ MOI SUR INSTAGRAM @ouestlebeau °° Découvrez mes 2 rdv journaliers : https://www.instagram.com/ouestlebeau/ >> en story avec la chronique « Où est le beau aujourd’hui sur Instagram ? » >> tous les soirs sur mon mur, avec la publication de la « sélection du jour » dans laquelle je mets à l’honneur une personnalité ou un lieu inspirant. °° CREDITS °° Où est le beau ? est un Podcast créé et réalisé par Hélène Aguilar Edition et montage : Paco Del Rosso Identité graphique : Catherine Sofia Musique libre de droits Contact : helene@ouestlebeau.com

Kirk Jackson is originally from Lewis Center, Ohio.  Kirk discovered clay, as an expressive material, while studying at The Ohio State University.  While pursuing a BFA there. Kirk had the opportunity to spend a semester in Jingdezhen, China and also did a summer residency at Watershed Center for Ceramic Arts.  After completing his BFA, Kirk worked as Studio Manager at Watershed, participated in the Working Artist Program at Longwood University, was a Resident Artist as well as instructor at Seward Park Clay Studio.  Kirk then became a Long-Term Resident for two years at Red Lodge Clay Center and two years at the Clay Studio of Missoula.  Kirk currently lives and works out of his own studio in Missoula, Montana.

Patrick Kingshill was born in Eureka California. Patrick received his BFA from San Jose State University and MFA from the University of Nebraska, Lincoln.  In 2014 Patrick studied glass and ceramics at the University of Sunderland, England and has recently worked as an apprentice for Takeshi Yasuda in Jingdezhen, China. Patrick now lives in Santa Fe, New Mexico.

Born and raised in Virginia, Molly Anne Bishop graduated from the Virginia Commonwealth University craft/material studies program in 2012. Working mostly in clay, Molly draws inspiration from lizards, popular sports, and travel. Molly has been a resident artist at Red Lodge Clay Center in Montana, Lillstreet Art Center in Chicago, the Skopelos Foundation for the Arts in Greece, c.r.e.t.a. in Rome, and the International Studio in Jingdezhen, China. Molly has work in the permanent collections of her mom and ex-boyfriend. SPONSORS  Use Promo Code: PAUL for $5 off   You can help support the show! Number 1 brand in America for a reason. Skutt.com For all your ceramic needs go to Georgies.com

Hui TANG received her PhD from University of Warwick in 2017. She now works as a curator at the National Maritime Museum in London. In the first episode of the show, we talked about enameled porcelain and the experience of doing a PhD.     

This is Special English. I&`&m Ryan Price in Beijing. Here is the news.China&`&s manned spacecraft Shenzhou XI will stay in space for 33 days, the longest since the country first sent a man into space in 2003. The mission presents more challenges in protecting astronauts&`& physical and mental health.A zero-gravity environment will affect the astronauts&`& cardiovascular systems, and lead to muscle atrophy, weakened immunity and faster bone loss. These make the spacemen more vulnerable to disease.To fight the negative impacts, spacemen will use treadmill and chest-expander to practice in the space lab, and wear penguin suits, which produce more tension with its elastic materials, to prevent muscles weakening.Also, to relieve the stress of being astronauts, psychologists, families and colleagues on the ground will communicate with them through video, audio or e-mail.Before the mission, the astronauts carried out 33 days of closed training. Except for weightless conditions, every process in the training lab was modeled on that in the space lab.The eight training subjects were physical fitness, mental fitness, space environment adaption, weightless protection, rescue and survival skill, rendezvous and docking, medical first-aid, and in-orbit experiment.Multiple experiments will be carried out when the astronauts enter the Tiangong II space lab. They will also carry out space material experiments, space plant cultivation and in-orbit maintenance of the spacecraft.This is Special English.The Chinese government has prioritized education in its efforts to eradicate poverty in the past 4 years.According to a white paper unveiled recently, to ensure poor people&`&s access to education, the government has taken measures to promote balanced compulsory education and bridge the education gap between urban and rural areas.The document was released by the State Council, China&`&s Cabinet. It said that in the period between 2012 and 2015, the central government injected 83 billion yuan, roughly 12 billion U.S. dollars, in renovating schools for compulsory education. It also earmarked 14 billion yuan to build dormitory buildings for some 300,000 teachers in remote rural areas.In less-developed central and western parts of the country, the number of children enrolled in kindergartens rose from 21 million in 2011 to 28 million last year, up 30 percent.China offered cost-of-living subsidies for rural teachers in poverty-stricken areas, benefiting over one million teachers.The average annual growth rate of rural students from poor areas enrolled in key universities was kept above 10 percent.The white paper added that the country also reinforced poverty relief efforts through developing industries with local features, improving medical security and supporting employment. You&`&re listening to Special English. I&`&m Ryan Price in Beijing. A potentially cancer-causing chemical known as NDMA has been found in the drinking water of 44 Chinese cities. Samples from the eastern and southern parts of the country have been found to have relatively high concentrations.Measured in nano-grams per liter, NDMA is a byproduct of the disinfection process used for chlorinating drinking water. It is considered an "emerging contaminant", together with other related chemicals known as nitrosamines.Samples were taken from more than 100 sites in 23 provinces. The average NDMA concentrations for finished water and tap water are almost four times the figures in the United States.The two figures in the Yangtze River Delta areas are high, posing a digestive cancer risk for residents there.Lead researcher Chen Chao, an associate professor at Tsinghua University said the NDMA concentration in drinking water is a pressing issue that demands more research and systematic modifications.According to the World Health Organization, NDMA and other nitrosamines cause cancer in laboratory animals. Currently, the substance is not regulated as a drinking water quality standard in China. No maximum level has been set.Chen said it may be included soon as a standard for water safety.This is Special English.Checkpoints at airports and train stations in Sichuan Province have given up radiation screening after a safety outcry.The Shuangliu International Airport in Chengdu, the capital of Sichuan Province, has stopped using X-rays in public security checks.The airport made the change in response to a statement issued by the Ministry of Environmental Protection to the province, urging it to stop using X-ray machines for security screening.The statement was issued by the ministry after many passengers complained that X-rays posed a health threat.At train stations and airport checkpoints in Chengdu, passengers were required to stand in front of a machine for around 10 seconds. All passengers, including pregnant women, were subjected to the procedure without being informed about what the facility was or what it was doing.The maker of the equipment claimed the machine used "weak photon emissions", but medical doctors said it was X-rays and using X-ray for the checks is harmful to human health and is banned in other countries.The United States adopted X-rays for public security checks to discover weapons after the Sept 11 terrorist attack. But because of the public opposition and the development of more sophisticated technology, the equipment was banned.You&`&re listening to Special English. I&`&m Ryan Price in Beijing.The total number of organ transplant surgeries performed in China is expected to reach 15,000 this year. The figure will be a record high and an increase of almost 50 percent over last year.Senior officials and experts said that after the abolishment of procuring organs for transplant from executed prisoners since the beginning of last year, the number of organs donated after death has increased rapidly.Last year, around 10,000 organ transplant surgeries were performed nationwide. Chinese officials and experts made the remarks at the International Organ Donation Conference in Beijing.The surgery totals include transplants using organs from living donors.The number of people who donated organs after death in China this year reached almost 3,000 by the end of September, which is an increase of 50 percent compared with the same period last year.This could make China the second in the world, behind the United States, in the number of organ donors by the end of the year.The total number of donated organs harvested after death last year in China exceeded 7,700, more than the total numbers for 2013 and 2014 combined.The officials said China stopped using organs from executed prisoners on Jan 1 last year, when voluntary donations became the only legal source for transplants.This is Special English.Meteorological disasters have been blamed for the destruction of at least 50 billion kilograms of grain in China annually.Climate change is having an increasing impact on food and agriculture, with each rising degree of Celsius causing 10 percent of grain loss. That&`&s according to figures released at a promotion activity in Nanjing for the 36th World Food Day.China is one of the countries most affected by meteorological disasters, with droughts causing around 60 percent of all the losses in the country.Officials from the China Meteorological Administration said immediate measures need to be taken to address the issue. It urged the country to play down the effect of meteorological disasters in grain production, processing and consumption.China managed to diminish grain losses with a variety of measures in the past, including building new granaries and repairing old ones, as well as upgrading transportation equipment. You&`&re listening to Special English. I&`&m Ryan Price in Beijing. You can access the program by logging on to newsplusradio.cn. You can also find us on our Apple Podcast. If you have any comments or suggestions, please let us know by e-mailing us at mansuyingyu@cri.com.cn. That&`&s mansuyingyu@cri.com.cn. Now the news continues.An aging World War II-era C-47 aircraft has landed at Kunming in Yunnan province, after a commemorative "Hump flight", widely known as the most dangerous air route in China during World War II. The plane is heading for Guilin in the Guangxi Zhuang autonomous region. There it will be donated by the Flying Tigers Historical Organization to the Flying Tigers Heritage Park in Guilin for permanent display. The "Hump" was one of the most important air ways connecting China with allied forces in South Asia. During the war, around 850,000 metric tons of supplies reached China from India via that route. And around 1,500 U.S. planes crashed along the way, falling victim to the formidable mountains of the Qinghai-Tibet Plateau and their fickle, often nasty, weather conditions. The pilots said the huge ridges looked like humps, thus the nickname. The American Volunteer Group, also known as the Flying Tigers, took on the dangerous mission, and American C-47 aircrafts delivered the first, small load of supplies in July 1942. The plane currently has five crew members, including two from the United States and three from Australia. Their average age is above 70 years old.This is Special English.A new archaeological find announced recently in Mexico attests to China&`&s age-old vocation as an exporting powerhouse.Mexican archaeologists have uncovered thousands of fragments of a 400-year-old shipment of Chinese "export-quality porcelain" that was long buried in the Pacific Coast port of Acapulco.The shipment of rice bowls, cups, plates and platters dates from the reign of the Ming Dynasty&`&s 13th emperor Wan Li who died in 1620. The goods are believed to have arrived in Acapulco aboard the China Galleon, which sailed regularly between Asia and the New World.The findings include five types of export-quality porcelain which were made in China and exported around the world.The white-and-blue porcelain was painted with images of birds, beetles, swans, and other depictions of nature. These porcelain goods were mainly made in Jingdezhen which is known as China&`&s "Porcelain Capital".The discovery coincides with an exhibition at Mexico City&`&s Franz Mayer Museum which highlights China&`&s artistic influence on the New World through trade.While Mexico and China are separated by a great distance, trade ties have linked the two regions for centuries.You&`&re listening to Special English. I&`&m Ryan Price in Beijing.（全文见周日微信。）

Ian F. Thomas is an installation artist living in Slippery Rock, PA and works at Allegheny College in Meadville, PA. Ian holds a BFA from Slippery Rock University and an MFA from Texas Tech University. Ian received additional training at the Academy of Fine Arts and Design in Bratislava, Slovakia, and The Pottery Workshop in Jingdezhen, China.  

Orhan Pamuk, novelist and Nobel Prize winner is in conversation with Edmund de Waal - the potter and best-selling author of the Hare with Amber Eyes - who has been on a quest to explore the history of porcelain. Philip Dodd chairs a conversation ranging across the colours white and red, appreciating and conserving craft skills, the way historic objects are displayed in museums, and the changing identity of cities such as Desden, Jingdezhen and Istanbul.

This week on the Tales of a Red Clay Rambler podcast I have an interview with ceramic artist Shannon Sullivan. Her sculptural and installation works are inspired by mineralogy, microbiology and other scientific studies of the natural world. In the interview we talk about utilizing an art consultant, working in Jingdezhen, and Peter Pierce's research into maximum design diversity. In addition to her studio work Shannon is a Professor of Art at the College of the Redwoods in Eureka, CA. For more information please visit www.shannonmsullivan.com.

Tea's epic story continues on the heels of the advances made in tea production and tea culture during the Song. After surviving the Mongol Yuan Dynasty, Camellia sinensis experiences a sea change of improvements beginning with Ming Dynasty founding emperor, Zhu Yuanzhang. Now tea starts to become more familiar to us after this Hongwu Emperor demands that all future tribute teas must be sent in loose-leaf form. With the introduction of loose-leaf tea came greater demands for tea-ware. The history of the kilns of Jingdezhen 景德镇 is introduced, along with their calling card: Blue and White porcelain, China's first global brand. Other innovations such as teas scented with flowers and the "Tea Manual" of Zhu Quan 朱权 are also discussed. Learn more about your ad choices. Visit megaphone.fm/adchoices

Tea's epic story continues on the heels of the advances made in tea production and tea culture during the Song. After surviving the Mongol Yuan Dynasty, Camellia sinensis experiences a sea change of improvements beginning with Ming Dynasty founding emperor, Zhu Yuanzhang. Now tea starts to become more familiar to us after this Hongwu Emperor demands that all future tribute teas must be sent in loose-leaf form. With the introduction of loose-leaf tea came greater demands for tea-ware. The history of the kilns of Jingdezhen 景德镇 is introduced, along with their calling card: Blue and White porcelain, China's first global brand. Other innovations such as teas scented with flowers and the "Tea Manual" of Zhu Quan 朱权 are also discussed. Learn more about your ad choices. Visit megaphone.fm/adchoices

Tea's epic story continues on the heels of the advances made in tea production and tea culture during the Song. After surviving the Mongol Yuan Dynasty, Camellia sinensis experiences a sea change of improvements beginning with Ming Dynasty founding emperor, Zhu Yuanzhang. Now tea starts to become more familiar to us after this Hongwu Emperor demands that all future tribute teas must be sent in loose-leaf form. With the introduction of loose-leaf tea came greater demands for tea-ware. The history of the kilns of Jingdezhen 景德镇 is introduced, along with their calling card: Blue and White porcelain, China's first global brand. Other innovations such as teas scented with flowers and the "Tea Manual" of Zhu Quan 朱权 are also discussed. Learn more about your ad choices. Visit megaphone.fm/adchoices

Tea's epic story continues on the heels of the advances made in tea production and tea culture during the Song. After surviving the Mongol Yuan Dynasty, Camellia sinensis experiences a sea change of improvements beginning with Ming Dynasty founding emperor, Zhu Yuanzhang. Now tea starts to become more familiar to us after this Hongwu Emperor demands that all future tribute teas must be sent in loose-leaf form. With the introduction of loose-leaf tea came greater demands for tea-ware. The history of the kilns of Jingdezhen 景德镇 is introduced, along with their calling card: Blue and White porcelain, China's first global brand. Other innovations such as teas scented with flowers and the "Tea Manual" of Zhu Quan 朱权 are also discussed. Learn more about your ad choices. Visit megaphone.fm/adchoices

详细内容请关注周六微信，或登录以下网址：http://172.100.100.192:9008/7146/2014/12/26/2582s858461.htmThis is NEWS Plus Special English. I'm Mark Griffiths in Beijing. Here is the news.Guidelines on child abuse by legal guardians are in the pipeline.China's Civil Affairs Ministry says that guardians who abuse those in their care will be stripped of custody in accordance with laws and regulations.In recent years, parental abuse cases have come to the fore. Last year, a 22-year-old mother intentionally left her two young daughters at home and let them starve to death.Existing laws and regulations on juvenile custody are blurred and few violators are punished accordingly.The ministry says guardians who severely harm juveniles should be deprived of custody through the court.This is NEWS Plus Special English.Chinese students can now defer their studies to start their own business, in a move by the education ministry to deal with the record number of college graduates due next year. China will see 7.5 million people graduate from college next year, 220,000 more than the number last year. Helping them find a job is a tremendous challenge.The Education Ministry has found measures to cope with the unprecedented number of graduates. In a recent notice, it called on colleges to offer a more flexible schooling system, allowing students to suspend their studies to pursue business opportunities off campus.Colleges are required to offer courses on entrepreneurship that award academic credit and invite entrepreneurs, business owners, academics and investors to share their expertise with students.The ministry said it would roll out favorable polices, including entrepreneurship training, business registration, capital raising and tax reduction, for students to start their own business. Students were also encouraged to open online shops and they would be supported by financial institutes, non-government organizations, associations and other companies.Graduate employment has been the concern of the central government as the number of students hunting for a job keeps growing.This is NEWS Plus Special English.Three Chinese cities have been designated as part of the UNESCO Creative Cities Network.Suzhou and Jingdezhen in east China's Jiangsu and Jiangxi provinces are designated as "Cities of Crafts and Folk Art". Shunde in south China's Guangdong Province was name part of the "Cities of Gastronomy".At present, eight Chinese cities have been listed in the network, including Beijing, Shanghai, Shenzhen, Hangzhou and Chengdu. A total of 69 cities from 32 countries worldwide have been listed in the network.The Creative Cities Network was established by the United Nations Educational, Scientific and Cultural Organization in 2004 and includes seven categories.Aimed at boosting innovation and maintaining cultural diversity, it encourages member cities to share experiences in promoting the local heritage, so as to cope with the influx of globalization.You are listening to NEWS Plus Special English. I'm Mark Griffiths in Beijing.China and Kazakhstan have agreed to tap into the potential of hi-tech cooperation and further advance bilateral aerospace cooperation.The two countries agreed to jointly establish a technical cooperation center as both sides have huge cooperation potential in hi-tech field, innovation and transformation of scientific achievements.The two countries hoped that mainstream hi-tech organizations and enterprises from both sides will carry out exchanges and develop partnerships with each other.Meanwhile, both sides spoke highly of the significance of conducting cooperation in the aerospace sector. They agreed to set up a joint working group to study bilateral cooperation mechanisms and direction.This is NEWS Plus Special English.Slovenia will spend 1 billion euros, roughly 1.3 billion U.S. dollars, in response to the call of the European Union to reduce carbon dioxide emissions before 2020.Based on data from 2005, the Slovenian government is planning to ensure the emission of greenhouse gases does not exceed 12 million tons in the target year.It will be a challenge for the government as the authorities have to curb firstly the carbon dioxide equivalents from the transport sector.Carbon dioxide emissions have been identified as a major contributor to global warming, and account for around 80 percent of all EU greenhouse gas emissions.Transport is the biggest polluter in Slovenia with its emissions of greenhouse gases amounting to almost half of the total figure. To limit emissions in the transport field, Slovenia will encourage the use of public transport, upgrade the efficiency of road vehicles, and promote un-motorized forms of transport.In the agricultural sector, measures will be taken to increase environmentally friendly operations in milk production and livestock breeding. The use of fertilizers will be tackled as part of the efforts.

In this episode, Laszlo looks at tea in the Ming dynasty. This is when loose-leaf tea, Jingdezhen and Yixing teapots hit the big time. For a list of terms used in the episode, visit the website at teacup.meda

Kate Maury received a Bachelor of Fine Arts from Kansas City Art Institute and a Master of Fine Art from the New York State College of Ceramics at Alfred University. Currently she resides in St. Paul, Minnesota where she is a studio resident at the Northern Clay Center and teaches full-time as a Professor in the School of Art and Design at the University of Wisconsin-Stout. Her work is featured in both juried and invitational shows at regional, national and international venues. In addition Maury’s work is published in contemporary ceramic art books such as Making Marks: Discovering the Ceramic Surface by Robin Hopper, 500 Bowls, Lark Books, The Art of Contemporary American Pottery by Kevin Hluch, and High-Fire Glazes by Lark Books. She has taken part in two residencies at the Archie Bray Foundation, three residencies at the Sanbao Ceramic Art Institute in Jingdezhen, China and most recently completed two residencies at the International Ceramics Studio in Kecskemet, Hungary. 

Hello and welcome to our weekly feature, Horizons on Newsplus Radio. I'm your host Du Lijun. Located in the centre of Shandong, Zibo is considered one of the birthplaces of the Han Chinese. It was the capital of the ancient State of Qi, the most prosperous state during the Spring and Autumn and the Warring States Periods over 2,000 years ago; and it also made a significant contribution to the formation and prosperity of the ancient Silk Road. Aside from its historic importance, Zibo is also home to a colorful street-food culture; and is especially well-known for its different varieties of pan-cakes. So, with today's Horizons, we will travel to Zibo to find out more about those creative pan-cakes. With the rest time of the show, we will have a look at the employment situation in China. Please stay tuned. Anchor: Shandong cuisine is a culinary art form originating from Shandong Province in east China. Lu is the abbreviation for Shandong and "Lu cuisine" is commonly used as a substitution for Shandong cuisine. As the region of the vast majority of cooking styles in China, Shandong cuisine is widely considered the most influential branch of Chinese cuisine. Not only is Shandong cuisine one of the most unique culinary styles in the Northern China, it has acquired the high reputation of ranking among the four most distinguished culinary heritages in traditional Chinese cuisine, along with the Sichuan, Cantonese and Jiangsu cuisines. Aside from its well-known cuisine, Shandong is also home to a colorful street-food culture; and is especially well-known for its different varieties of pan-cakes. So now let's follow our reporter Shen Ting to the central city of Shandong, Zibo, to find out more about these creative pan-cakes. Reporter: Located in the centre of Shandong, Zibo is considered one of the birthplaces of the Han Chinese. The traces of the three major Neolithic cultures in ancient China, Beixin culture, Dawenkou culture, and Longshan culture can all be found on the site of the now modern Zibo. Zibo was the capital of the ancient State of Qi, the most prosperous state during the Spring and Autumn and the Warring States Periods over 2,000 years ago. Zibo also made a significant contribution to the formation and prosperity of the ancient Silk Road. Zhoucun, now one of the townships of Zibo, used to be one of the biggest suppliers of silk products in China; and thus became one of the country's four important 'inland ports' in the 17th century, alongside Fuoshan, Jingdezhen and Zhuxianzhen. As a commercial hub of north China in the Qing Dynasty, Emperor Qianlong once praised it as the "No. 1 Village in China". Nowadays it may longer be the center of commerce it used to be, but Zhoucun has a lasting legacy from its glory days. Walking through its centuries-old streets you can still feel the buoyant commercial atmosphere. As an important trading center, Zhoucun was once abuzz with merchants from both home and abroad, and some of them brought along recipes of their favorite snacks. One of them is shaobing. This thin round wafer topped sesame has now become a trademark snack of Zhoucun. Li Changshun is vice president of the Zibo Cuisine Association. He explains to us. "The origin of Zhoucun Shaobing can be traced back to hubing, a type of thick baked bread from the Han Dynasty some 2000 years ago. Its name reflects its origins, as "hu" was a term used to describe Westerners. Traders who arrived through the Silk Route from Western Asia introduced hubing to China. This kind of hand-made bread soon became a best seller among the merchants in Zhoucun and many local chefs learned to make this. " Shaobing in Chinese cuisine is a baked type of layered flatbread that may be topped with sesame seeds. Literally meaning ''roasted cakes'', Shaobing has served as staple food for the Chinese people, especially in the northern part for hundreds of years. Originally, they were cooked in the Middle East style, as slapped against the searing sides of a clay oven, where they adhered and baked. Now, they are pan-fried or baked in a conventional oven. Considered to be a type of croissant-bagel hybrid, these roasted cakes feature a number of delicate, crunchy layers with a crispy surface. Shaobing can be either savory or sweet; and they are eaten in different parts of China with various types of food. In the northern parts, the savory ones are eaten with soup, while in the South, people have it with soy milk for breakfast. The sweet flatbread is also sometimes eaten on its own as a side dish. These tasty, flaky Chinese pastries can also be split open, like small pita breads, and stuffed with all manner of stir-fries to make sandwiches. Some of the stuffings used to fill shaobing include red bean paste, stir-fried mung beans, and spring onions. Tofu, egg, and black sesame paste are some of the other stuffings used. The most basic type of shaobing is that made with sesame seeds. It is possible to make around 10 of them in less than half an hour with dough prepared beforehand. As the dough preparation and baking techniques evolve different varieties of shaobing take form. Some versions are crispier than others; some flakier; and some are saltier. Among them, Zhoucun shaobing has become the most famous one. In contrast to the basic type of shaoping usually found at the street, Zhoucun shaobing features a fusion of Chinese and western baking techniques fine-tuned by a dedicated baker. Wang Chunhua is one such skillful shaobing baker. "Zhouchun shaobing is much thinner and crispier. It is as thin as a piece of paper; and it is so crispy and fragile that it shatters into shards if you don't handle it with care. Richly crusted with sesame, it is aromatic and flavorful."

The technical and artistic excellence of Ming dynasty porcelain is without parallel. Although a tremendous variety of wares was produced, the great tradition of blue and white porcelains most confidently expresses the imperial style. The Yongle period at the beginning of the fifteenth century was one of the most glorious and productive eras in the history of Chinese art. Under the inspired patronage of the Yongle emperor all the arts flourished; none more so than the ceramic arts centred on the imperial kilns at Jingdezhen in Jiangxi province. There the characteristics of the local clay had been mastered in the production of translucent high-fired white-bodied porcelain. The technique of painting on the body of the ceramic vessel with cobalt blue had been introduced to China during the preceding Yuan dynasty, probably from Persia. By the late Yuan dynasty (in the second half of the fourteenth century), blue and white porcelain was the hallmark product of Chinese kilns, paving the way for massive expansion and artistic fulfilment in the Ming. This large dish is a classic example of the Ming potters' art. Perfectly shaped, it is covered with a glaze rich in texture, and painted with a flourishing design of a bouquet of lotus and water plantain, with a continuous scroll of lotus blooms around the rim. Characteristic of Ming imperial wares, the shape of the vessel is in perfect harmony with the rhythms of the decoration. Art Gallery Handbook, 1999. pg. 252.

Robert Mowry, Harvard University

Robert Mowry, Harvard University