It is generally acknowledged that porcelains, among portable antiquities, boast relatively stable physical and chemical properties. However, marine archaeological porcelains are likely to suffer from deterioration such as salting out, attachment and corrosion due to the complicated burial environments. In the course of conservation and restoration, some natural diseases are easily mistaken for production defects. In order to preserve as much historical information about the antiquities as possible during the clean — up process, we systematically examined traditional porcelain production methods used at the Yue kiln, and conducted further research on typical production flaws that can easily be confused with the natural diseases. Based on these traditional methods and compositional characteristics of porcelains, we provide some guidance on the selection of clean —up methods and repair materials used for porcelains. From the perspective of identifiability and ageing resistance, this paper focuses on discussing the restoration scale of porcelains exhibited in museums. Based on our practical work, we discuss some problems that should be noticed in restoration and also provide an outlook for the future practical work and research.

The image of the “Nagas Bathing Siddhartha”, an important theme in Buddhist art, was produced in India and has appeared successively in Xinjiang, Gansu, Qinghai, Shanxi, Shaanxi, Henan, Shandong, Jiangsu, Sichuan, Tibet and other places in China during the process of Buddhism spreading to the east. However, its forms and contents differ in different regions and different periods. Therefore, it is conducive to understand the sinicization process of Indian Buddhist art and can deepen the understanding of the specific contents of Buddhist art exchanges to study the differences. The innovative point of view of this paper is that the distribution of “Nagas Bathing Siddhartha” is “regional,” and the variation of its style reflects the route and regional characteristics of Buddhist transmission.

tea-calix with oil droplets, and the provided tea-calix for tea competition were of the highest quality among the current findings. Jianzhou Kiln was first produced in the late Tang dynasty, and then became prosperous in Song dynasties. Till now, numerous kiln sites have been found: Luhuaping, Niupilun, Anweishan, Yingchangqian, Daluhoumen, Yuantoukeng and so on. The tea-calix produced here has been dominated in Song dynasty and has profound influences on the contemporary kiln sites that produced black-gazed tea-calix.

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