Lotte base located in Jingdezhen in Jingdezhen City Ceramic porcelain sculpture

By JDZ-Ceramic

Sky blue, spring boil noodles. May 1, Lotte Jingdezhen in Jingdezhen City Ceramic base porcelain sculpture was officially established. Master of arts and crafts of China Liu long porcelain in Jingdezhen City Council, porcelain sculpture, pottery Lotte and other relevant agency heads to attend the inaugural ceremony. Liu announced the establishment of ceramic base and at the same time opening the third market Lotte creative.

Lotte sculpture ceramics in Jingdezhen porcelain base is located in the back door, is a studio with offices and speak to one large space LOFT style. “51″ period, the base will be the site for pottery pottery patterns show fans, decorative ceramics, glaze painting, blue, handmade pottery, traditional hand-made brush, bamboo, etc., can also experience the casting, Green flowers and clay figurines. Let the side of pottery can learn to master Jingdezhen ceramics production techniques, the side of Topsy Jingdezhen this “Ceramic History”, to share the fun of ceramics bring.

Lotte’s creativity in the market in the third that the 120 stalls of creative works to the three-meter-large, small fingernails, there are fashion or nostalgia, and daily or leisure, plane or space, there are worn on the body Ceramic necklace, earrings, vases of practical devices, it hung on the wall porcelain pottery, lamps, ornaments and so on are purely decorative, silver, everything is very fine. In particular vegetables covered with bamboo accessories cover, filled with decorative ornaments five bean frame, it is attracting tourists and Taobao’s eye, and even there are many foreign tourists come to visit, browse.

According to Lotte Tao agency responsible person to open up the creative market is young potters hope to provide students with a small stage, to encourage them to not only the freedom to create ceramic art, but also intervene in the market as soon as possible, the combination of creativity and the market, the creation and re-writing the continuation of operations in practice possible. At the same time, the opening of innovative small market can also Jingdezhen ceramics culture brought about by the development of the vitality and creativity of young people active in the cultural atmosphere of the Millennium porcelain to bring fresh supplies and energy. To establish a base for ceramic art ceramics and the vast majority of those who love ceramics, pottery making and to provide to appreciate the art of pottery making the exchange of space, to “Lotte stage, singing the public art, art exchange, together with promoting” the promotion of ceramic culture.

Shenzhen will become the leading city of the world’s ceramics industry

By JDZ-Ceramic

Shenzhen will become the leading city of the world’s ceramics industry
“Ceramic Fair will Youngpoong source world, so that China’s traditional culture of the ceramic Games.” Yesterday, on the 1st in the Fair Lane, Yong Feng, chairman of the source of the Group, “Mission Hills porcelain Valley” to create the right Liu Yuen-fai fat face full of smile. Chinese ceramics in recent years as the rise of the brand new leader, he was busy reception wave and wave of hope into “porcelain Guanlan Valley” of the domestic and foreign businessmen to cooperate.

“Yesterday, through the Fair will be the platform that we and the State Development Bank, the Japanese company of your music in your music, Hebei and Jiangxi Jingdezhen Cixian two ceramic enterprises focus on the signing ceremony of cooperation, such cooperation or whether it is from the capital market, are Youngpoong source contribute to the completion of the dream of bigger and stronger, it can be said quite abundant harvest. “Liu told reporters the right-hui, in addition, he is more proud that, through the display of ceramic Youngpoong source, let the people see to accomplish a great deal of traditional Chinese culture, to enhance the international image of China plays a significant role.

It is understood that in March 2007 in the National Exhibition on Russia and China, fine porcelain Youngpoong source ceremony was elected the country presented to the Russian President Vladimir Putin and former President, when President Putin to take up a porcelain interesting interest called the “big Chinese goods.” Many people in the booth on the message that these magnificent porcelain fine behind a pool of national revival of the Chinese enterprises in the history of ceramic production responsibility.

“Porcelain Guanlan Valley” is introduced in Bao’an District, government regulation, business investment and a new model, the source model through the play Youngpoong brand to attract domestic and foreign brands of advanced ceramic entry. Its under the display of Chinese porcelain and cultural experience, the International Porcelain Expo Trade Center, the International Cultural and Creative Design Center porcelain, ceramic and cultural training for international exchange center, the International Cultural Forum porcelain features five theme areas, the ultimate goal is to build a global culture of high-end ceramic the core area. At present, Japan’s “Jingdezhen” of the “nine Valley” in ceramics, has been assigned to “porcelain Guanlan Valley.”

“Why ‘Guanlan porcelain Valley’ ability to attract as Japan ‘nine Valley fire’ this world-class ceramic art to join?” Mr Rutherford said the right, hit by the financial crisis, in Europe and the U.S. market a lot of prestigious ceramics enterprises declared bankrupt, in the midst of are the source of contrarian growth Shenzhen Yongfeng Porcelain giant international attention. “Nine Valley burned” many times, make unannounced visits to the Group of Experts sent Youngpoong source of Shenzhen high-tech transformation of traditional industries through to vigorously support the development of cultural industries to conduct a comprehensive survey the investment environment, the investigation eventually concluded that: Youngpoong source in Shenzhen the rise and development is not accidental, the near future, Shenzhen, China will undoubtedly become a world leader in ceramic industrial innovation, the development of the city, “they are ceramic cultural industries in the rapid development of Shenzhen as a deterrent.”

Jingdezhen porcelain traditionally HKADC modern sensation in Hong Kong

By JDZ-Ceramic

Jingdezhen porcelain traditionally HKADC modern sensation in Hong Kong

From the University of Hong Kong Museum of Art and co-sponsored Jingdezhen City Department of Cultural Affairs, “Jiang Kiln” Paul Jiang Qing, founder of the contractor’s “One to review the past to the new - the modern tradition of Jingdezhen Ceramic Art Exhibition” in April from the Museum of Fine Arts at the University of Hong Kong has been carried out, visits to the people of Hong Kong and foreigners flocked to the visitors a fresh, exciting feel. In Hong Kong to attend the Jiangxi Province in 2009 (Hong Kong) Week, deputy director of the Municipal People’s Congress, Sau Ming, vice mayor in high spirits to visit the exhibition.

A total of 135 sets of modern works of traditional pottery exhibition. These works have not only carrying forward the tradition of innovation, not only as antique porcelain, but also different from the general sense of the antique porcelain, the court through traditional painting and a combination of three-dimensional objects, into the modern aesthetic elements into “the cleverest learned new” expression of a new, fully demonstrates the breadth and depth of Jingdezhen, the south-pointing carriage, full of vitality and creativity of the ceramic culture. The exhibition also displayed the painting tools and more than 40 kinds of paints. These exhibits have been to the Russian State Tretyakov Museum and Art Gallery, Bahrain National Museum, Liu Haisu Shanghai Art Museum, Dalian is Chuan Museum, Museum of Jiangxi Province, one in each, are caused by an unusual reaction with wood. The exhibition in Hong Kong has been on display in July of this year.

Chaozhou ceramics characteristics held to Shanghai Show

By JDZ-Ceramic

Chaozhou ceramics characteristics held to Shanghai Show

Chow will be the first held in 2009 in Shanghai, Guangdong Chaozhou ceramics and specialty products trade fair, made a special trip to Shanghai and the Chaozhou Municipal Standing Committee of the Executive Vice Mayor Xu Fang said yesterday that the aim of expanding outreach to do domestic demand, capital growth, efforts to mitigate financial crisis the impact of foreign trade for enterprises to create a display of products, exchange information and promote trade cooperation platform for enterprises to promote their products to enhance the capacity of the domestic market.

Scheduled for this month from 11 to 14 in Shanghai Exhibition Center and features of Chaozhou Ceramics Fair, the Ministry of Commerce has been identified as 50 this year, “the expansion of consumption, innovative life” one of the focus of activities. Chaozhou more than 8000 square meters exhibition area, where nearly a hundred key enterprises at home will feature more than 7000 kinds of products, exhibits related to arts and crafts such as ceramics and other categories. Fair will be set to display, sell, trade negotiations, investment promotion activities in one auction.

Jingdezhen porcelain manual transmission skills base to protect the opening

By JDZ-Ceramic

Jingdezhen porcelain manual transmission skills base to protect the opening
The morning of July 4, Jingdezhen porcelain hand the protection of heritage skills base and skills of Jingdezhen porcelain representation of the traditional heritage of people in the Demo Center ceremony held Ceramics Expo history, the town of Kiln maintenance works at the same time also held a groundbreaking ceremony. Municipal Standing Committee, Vice-chief Lu Zhengda City, City Hall and the city Department of Cultural Affairs of the leadership and the first batch of 10-bit representation of the old skills of traditional porcelain artists participated in the opening ceremony. Unveiled, such as Lu Chia.

Jingdezhen porcelain is both Chinese and foreign well-known, the Millennium kiln fire porcelain left a superb artistry, creating a large number of porcelain with a rich tradition of ceramic production skills of workers, “Jingdezhen porcelain hand skills” and other projects have been included in the respective countries, provincial, municipal list of intangible cultural heritage protection. Provincial and municipal leadership attaches great importance to the traditional porcelain artists old and traditional art heritage protection work, in September last year, Jingdezhen Municipal People’s Government issued the “traditional porcelain in Jingdezhen City heritage skills were identified with the representation of Interim Measures for the Administration”, through established procedures to assess the city have had a tradition of the first batch of 10 porcelain arts veteran representative to promote the city of ceramics of the Intangible Cultural Heritage Protection of heritage, and achieved gratifying results.

Expo area porcelain history of the town to retain the traditional kilns and workshops, bringing together a large number of old porcelain artist, is the largest city of the 4A level scenic areas, hand-built porcelain heritage skills base and the protection of traditional Jingdezhen porcelain representation skills Demo Center inheritance were fully explore the use of cultural resources, protection of cultural heritage in our city to promote a strong tradition of work initiatives. To the “base” and “Center” building, is of great significance and far-reaching consequences. The town of 300 tam kiln is a city the size of firewood kiln remains only to protect the kiln room building will be the furnace, “such as repair of old old”, while maintaining the protection of productive ways to protect the kiln built heritage, traditional skills kiln , and its practical significance and far-reaching impact of the ceramic to porcelain heritage cultural heritage and continuously push forward the work.

Ceramic Art and Design

By JDZ-Ceramic

Sian is a ceramic artist based near Chichester, West Sussex in an area of outstanding natural beauty at the base of the South Downs, producing hand thrown smoke fired ceramics.

Sian trained at the West Surrey College of Art and Design in the early eighties by Henry Hammond and Sebastian Blackie and visiting tutor Paul Soldner.

After graduating she taught ceramics part time while developing her own work, experimenting with fibres and paper pulp resulting in exhibitions throughout the UK, Hungary, Germany, Spain and North America.

Recent work has been inspired by the Sussex landscape, abstracting nature through drawing and painting, translating these qualities directly through to the work in clay.

The smoke fired ceramic vessels are hand thrown on a wheel, turned, slipped and burnished. Other pieces are hand formed. Raku glazes are applied and a smoke firing is carried out using organic materials. Various oxides are used to bring out colour on the clay surfaces. The smoke firing enhances the form producing a timeless quality. Multiple firing allows further interaction of control and the unpredictability to fuel the creative process. The smoke fired pieces take several weeks to complete due to the nature of the working stages. Each piece is unique.

It is possible to purchase the ceramic pieces directly from Sian - check out her recent and previous work here.

Visitors to studio by appointment only.

Linda Bloomfield Ceramics at Liberty

By JDZ-Ceramic

Hand-thrown porcelain with soft organic forms, the new line of Linda Bloomfield Ceramics at Liberty offers a beautiful play of colour and textures. Created in West London, these lovely pieces have a warm and serene style. Each cup, plate and bowl has a unique hand-crafted charm and an artistic individuality. Featuring tactile satin matt glazes and brilliant glossy interiors, the Bloomfield tableware offers a palette of aqua, lime and peach. The translucent colour glazes reveal the sweeping crafting texture. A fabulous casual tableware, the Linda Bloomfield collection offers a brilliant modern rustic style. Available from Liberty in London:

Dimple Cup - £17.95
Small Bowl (aqua) - £18.95
Large Bowl (lime) - £24.95
Small Jug - £16.95

Jingdezhen porcelain manual transmission skills base to protect the opening

By JDZ-Ceramic

The morning of July 4, Jingdezhen porcelain hand the protection of heritage skills base and skills of Jingdezhen porcelain representation of the traditional heritage of people in the Demo Center ceremony held Ceramics Expo history, the town of Kiln maintenance works at the same time also held a groundbreaking ceremony. Municipal Standing Committee, Vice-chief Lu Zhengda City, City Hall and the city Department of Cultural Affairs of the leadership and the first batch of 10-bit representation of the old skills of traditional porcelain artists participated in the opening ceremony. Unveiled, such as Lu Chia.

Jingdezhen porcelain is both Chinese and foreign well-known, the Millennium kiln fire porcelain left a superb artistry, creating a large number of porcelain with a rich tradition of ceramic production skills of workers, “Jingdezhen porcelain hand skills” and other projects have been included in the respective countries, provincial, municipal list of intangible cultural heritage protection. Provincial and municipal leadership attaches great importance to the traditional porcelain artists old and traditional art heritage protection work, in September last year, Jingdezhen Municipal People’s Government issued the “traditional porcelain in Jingdezhen City heritage skills were identified with the representation of Interim Measures for the Administration”, through established procedures to assess the city have had a tradition of the first batch of 10 porcelain arts veteran representative to promote the city of ceramics of the Intangible Cultural Heritage Protection of heritage, and achieved gratifying results.

Expo area porcelain history of the town to retain the traditional kilns and workshops, bringing together a large number of old porcelain artist, is the largest city of the 4A level scenic areas, hand-built porcelain heritage skills base and the protection of traditional Jingdezhen porcelain representation skills Demo Center inheritance were fully explore the use of cultural resources, protection of cultural heritage in our city to promote a strong tradition of work initiatives. To the “base” and “Center” building, is of great significance and far-reaching consequences. The town of 300 tam kiln is a city the size of firewood kiln remains only to protect the kiln room building will be the furnace, “such as repair of old old”, while maintaining the protection of productive ways to protect the kiln built heritage, traditional skills kiln , and its practical significance and far-reaching impact of the ceramic to porcelain heritage cultural heritage and continuously push forward the work.

Jingdezhen Ceramic shares “Red” competition won the National Day with porcelain

By JDZ-Ceramic

Recently, the Jingdezhen Ceramic Co., Ltd. ceramic production from all the seven areas in more than 120 ceramics enterprises won, was designated as the Central Office of People’s Republic of China with the 60th anniversary celebration of porcelain production in Daqing, and enjoy exclusive copyright. This is a ceramic leaves following since 2000, has crowned Zhongnanhai, the Great Hall of the country’s highest palace again became the focus of attention.

It is understood that the company used for the celebration of the right of porcelain production, as early as the beginning of the design staff on the organization of well-designed, put our heads will love the motherland and the party loyalty of the great pieces of fine porcelain to give each design concept. To ensure that the ceremony on time and in accordance with quality porcelain according to the volume of delivery, the company from top to bottom, the company leadership personally, their division of the plant responsible for coordination.

Current when the high-temperature heat, the entire staff for the production of this glorious celebration of the task with porcelain into power, without fear of high-temperature heat, overtime production, quality inspection personnel go to the front line, strict quality control processes to ensure that the quality of each product. It is understood that the company based on innovation, this celebration of new varieties by porcelain 19. Moreover, structured products, the thickness, the severity of the special requirements of both degrees.

Chinese Arts Handicrafts - Porcelain, Chinaware

By JDZ-Ceramic

Unlike the course and porous earthenware, porcelain vessels are in the wholly vitrified, have a white color, sometimes translucent, and they have a fine-grained liquid-proof body. Chinese porcelain is worldwide known for its beautiful white color, its thin walls (a Chinese proverb says, “whiter than jade and thinner than paper” 比玉白,比紙薄) and its clear bell-like sound. The first real porcelain in China was made during the Tang Dynasty 唐, but industrial manufacturing was only exerted during the Yuan period 元, when Marco Polo wrote his reports about China. The word “porcelain” originally meant a kind of sea snail similar to the cowry snail. One of the first production places for porcelain ware was Gaoling 高陵/Shaanxi , a town that gave its name to one raw material for chinaware, kaolinite. To produce chinaware, feldspar is grounded and mixed with kaolinite, shaped to an object that is fired at around 1,400°C (2,600°F). The spar vitrifies, while the kaolinite ensures that the vessel keeps its shape in the kiln. In Europe, soft-paste porcelain was produced form the 16th century on, but the secret of true china hard porcelain was only discovered in 1707 in Meissen/Germany. Porcelain without glaze is called biscuit porcelain, invented in France during 18th century, and is mainly used for figurines. When the feldspathic glaze and the body of the vessel are fired together in a second firing process, glaze and body fuse intimately with each other. Painted decoration of porcelain is usually executed over the fired glaze. The Chinese do not distinguish between porcelain and stoneware, both is called ci 瓷 “Porcellain” is further defined as pottery that is resonant when struck.
Historical periods: [Song chinaware][Yuan chinaware][Ming chinaware][Qing chinaware]

	One beautiful example of early Chinese porcelain is this small pot of a type called yu盂. Many of the Jin Dynasty 晉 pots have four eyes to be hung up. The cover of this brown glazed pot is decorated with two turtle-doves.
	New shapes and decoration patterns shows this pot (type bo 缽; by the way, modern Korean ricebowls with the same shape are made from metal and are called jubal 周缽 “round bowls”) from the Eastern Jin Dynasty. Its yellow glazed surface is dotted with brown points, that are added in a regular pattern on belly and cover. The seize of the dots nonetheless is very unregular and points out a begin of the intuitive splotch decoration that is prevalent until the Tang Dynasty.
	Flower patterns like on this bowl from the Southern Dynasties 南朝 were still very rare during Han time 漢. The influence of lotus flowers in Buddhist art could have contributed to this new decoration pattern. A bowl sitting on a dish is also a new type.
	Clear influence of Indian and Central Asian art shows this pot from the Southern Dynasties period. Lotus flowers and honeysuckle are composed in different layers, one layer going up, the other showing to the bottom.
	Glazed with brown color, this flat Northern Dynasties 北朝 bottle is decorated with musicians. Pictures of people are very important to reconstruct clothing, instruments, festivities, architecture and so on.
	This 24 cm tall jar from the Northern Dynasties already shows the three color glazing (sancai 三彩) that became very popular under Tang Dynasty. The glazing is actually only made of two colors: green and brown, the third color white being the ground material. Typical for the period of division are the four eyes on the upper part and the round shape of the vessel.
	Another Northern Dynasties vessel is a prototype of the worldwide known typical Chinese vase with the wide belly and the long, straight neck. Unlike the overloaded Ming 明 and Qing 清 vases, this piece is decorated with a simple green splotch.
	The Song Dynasty 宋 porcelain is characterized by a very simple coloring and almost no decoration, like this 20 cm tall pure white covered bowl from the Five Dynasties period 五代.
	But Song chinaware did not only use more simple colors than the elder porcelain. New shapes and patters arose. The left vase in a green coloring looks very modern in its appering with the round body and the slim neck. A new technique of Song porcelain is the craquelée (kaipian 開片 or wenpian 紋片), making the glazing cracked all over as if it had been destroyed by temperature or water. The specimen on the right has a shape that reminds old bronze vessel types, but the two hallow tube-like handles on the side are a very new feature. Tallness about 20 cm.
	A Song chinaware cup that shows the change of colors from the olive green-yellow-brown types of the Tang Dynasty (that were still en mode) to a color range of green-blue-violet. During the reign era Jingde 景德 (1004-1007), the Song emperor Zhenzong 宋真宗 (r. 998-1022) had established imperial manufacturies at a small town called Jingdezhen 景德鎮/modern Jiangxi.
	Very typical for Chinese art are boxes that contain filial boxes or bowls. Most of these “box in the box” type contained cosmetics or medicine, and at the same time were a symbol of a lucky large number of children.
	From the late Tang Dynasty on, when Buddhism declined, the object of Buddhist veneration shifted from the huge state protected Avalokiteshvara to the Bodhisattva Maitreya (chin. Milefo 彌勒佛), also called Buddha of the Future. The venerated Avalokiteshvara was usually depicted with feminine characters and is called Guanyin 觀音. The Guanyin was no object of state veneration but found his/her place in private household or small temples. The specimen of the left is a porcelain Guanyin from the Southern Song period.
	The Yuan Dynasty brought new types of vessels. The type of cup to the left called “feeted cup” (zubei 足杯) was very popular from Yuan to the end of Qing Dynasty. It is 10 to 14 cm high and in most cases decorated in a very reserved manner.
	If we think of chinaware or Chinese porcelain, we first talk of the blue-white patterned porcelain that is typical for the last 700 years of Chinese art history. It first came up during the Yuan Dynasty and often showed motifs like shown on the left, a white plate decorated with a blue dragon, clouds and flowers.
	But also other types of vessels were decorated in blue-white. The slim vase with the broad shoulders on the left is a vessel type whose oldest specimen originate from the Song Dynasty. The progress in industrial manufacturing of porcelain allowed a refined style of these vases that often were covered by a small cup. 50 cm tall. Typical for Yuan Dynasty vases is the low and thick bowl-like vase shown on the right side. The cover is shaped like the hat of a flower bud or a fruits when it starts to grow after the blossom-time is over. 30 cm tall.
	Another example of feeted cups, zubei, from the Ming Dynasty, made of porcelain and different stones.
	During Ming Dynasty, this town developed to an industrial town manufacturing porcelain. Ming artisans introduced red and yellow colors to the typical blue-white porcelain that is typical for chinaware. The box on the left is used to contain painting brushes, and it is decorates with dragons playing inmidst clouds and waves.
	But the blue-white porcalain was very prevalent because it is cheaper to produce than mulit-colored vessels or objects. The plate to the left is only one example of the huge treasury of boxes, bowls and vases produced during the Ming and Qing Dynasty. Industrially manufactures porcelain was so cheap that it replaced metal and stone objects in a wide range, and the manufacturies produced such an amount of material that it could even be exported to Southeast Asia and Europe.
	The vase on the left is a good example for the overloaded, some would say “kitschy” style of multi-colored chinaware that came up during late Ming Dynasty, ornated with red, orange, green, blue, and gold colors. On the contrary, there existed also very simple and barely decorated objects like the pair of vases on the right, used to flank an altar. They are only adorned with a dragon twirling around the slim neck.
	The pot-bellied vase from the Yuan Dynasty were still seen during later centuries, but quite rare. The example to the left is 40 cm tall and is - surprisingly - not purely exerted with the typical blue colors, but the gold fish are painted in a realistic red-gold color. Fish are a symbol for fertility in Chinese thought.
	Very famous among the tourists visiting China is the nine dragon wall in Beijing’s Forbidden City (see Imperial Palace). These walls were erected just behind the entrance gate of a court to prevent bad ghost entering the house (ghosts were believed to be able to walk around corners, they can only walk straight ahead). The Ming Dynasty emperors who erected the “modern” Forbidden City in Beijing had this wall adorned with ceramic tiles showing nine dragons playing amidst the waves of a river.
	These four vessels from the Qing Dynasty were used during the imperial offerings to the natural spirits. The right, red vase with a wide opening was used for the sun altar, the pale blue vase on the left for the moon altar. The dark blue vessel in the front, shaped like an old fu 簠 type bronze vessel from the Zhou Dynasty 周, was used for offering to Heaven, and the yellow vessel in the background, shaped like an old dou 豆 type bronze vessel, was used for the offering to the Earth.
	Lanterns in China are often red colored and made of paper - we can see them in every China restaurant around the corner. The most expensive lanterns were made of paper-thin porcelain, like the example on the left. On each side of this octogonal lantern, we see a small painting, centered in a field of a grid-patterned light zone. The structural parts of the relief are thicker than the “hallow parts” and thereby give the impression of a grid. Similar effects are employed on the bottoms of cups and bowls. Holding the cup against direct light, a painting of a bird, a girl or anything else can be seen.
	Two examples shall show that Qing Dynasty bowls were not purely an industrial mass product of mean quality like we know them from the China food shop from the corner. While the bowl to the left shows us five different kinds of flowers on a coral red ground, the bowl to the right is partially covered with an enamel drawing of a pheasant among peony flowers.
	The advanced industrial technique allowed the creation of difficile shapes, decorations and styles. Typical for the Qing Dynasty chinaware is the gourd-shaped vase, made of porcelain “thinner than paper, whiter than jade”, like the Chinese say. The right example is decorated with lefs, the vase on the left, only thickened on the top of the neck, is painted with a bird scene on an orange background.
	A Song Dynasty vessel shape with broad shoulders still employed, Qing Dynasty artisans proved their skills for the example on the left to cover the body of the vase with a raised relief of leaves. The right vase, shaped like a gourd, divided its neck into three tubes, coming out of one single and unified body.
	Glazed tiles are not only found in China but also on the roofs of European Middle Age buildings. But typical for Chinese tiles are the shapes of demons, dragons and monsters numbering five to seven that protect the buildings agains the devastating stroke of lightnings. The example to the left are two roof of the Qing summer palace in Shenyang 瀋陽/Liaoning (Mukden).
	As Chinese thinking uses to pose two powers or elements into opposition (sun - moon, Heaven - Earth, male - female, dark - light), sets of pairs are also seen in Chinese art. The pair of vases on the left is a good example of industrial mass products to meet the needs of the common people, and at the same time, it is an example that not all vases or art objects are round, but that there are also quadrangular objects, symbolizing the earth.
	The consume of cigars or cigarets has never been widespread in China until the 20th century. Instead, Chinese used to enjoy tobacco in the form of snuff. Accordingly, snuff-boxes were a very common item for daily use. The left and middle snuff-boxes are made from porcelain and are painted with a landscape, the right blue box is made from glass and shows a crane flying over a river and a temple.