Abstract
Abstract
This article examines the phenomenon of yaobian 窯變, or kiln transformations, in late imperial and early modern China as material epistemology and material practice. By providing a genealogical analysis of documentations of yaobian in late imperial texts spanning the twelfth through the nineteenth centuries, the article relates their supernatural connotations to the production of Qing-period Jingdezhen Jun-style wares, variously known as flambé wares or kiln transmutation glazes. The article advances that the significance of such eighteenth-century yaobian porcelain wares lies in their very inexplicability of craftsmanship and ability to index both physical transformation as well as infinite formal transformation for the Qing empire, particularly during the reign of the Qianlong emperor (1736–1795).
Subject
Visual Arts and Performing Arts
Cited by
16 articles.
订阅此论文施引文献
订阅此论文施引文献，注册后可以免费订阅5篇论文的施引文献，订阅后可以查看论文全部施引文献
1. Index;The City of Blue and White;2020-02-29
2. Bibliography;The City of Blue and White;2020-02-29
3. Notes;The City of Blue and White;2020-02-29
4. Epilogue: Fragments of a Global Past;The City of Blue and White;2020-02-29
5. Local and Global in Jingdezhen’s Long Seventeenth Century;The City of Blue and White;2020-02-29