Maritime silk road heritage: quantitative typological analysis of qing dynasty export porcelain bowls from Guangzhou from the perspective of social factors

Abstract

The formation of decorative patterns on export porcelain has risen to the research dimension of cross-regional culture. The interplay between social elements and the formal evolution of export porcelain bowls from the Qing Dynasty in Guangzhou remains nebulous. This study elucidates these underlying cultural dynamics through the lenses of utility and societal implications, thus addressing how societal components contribute to the molding of tangible cultural heritage. Key findings include: (1) A dominance of the ring-foot design in the bases of Qing Dynasty export bowls; (2) The diameter and height of the Qing Dynasty export bowls show relatively concentrated characteristics, reflecting a systemic production trend and relative consistency in form; (3) Some of the Qing Dynasty bowls exceed the parameter range of typical tableware, reflecting the adaptability and innovation of production mechanisms in responding to special market demands. The morphological evolution of the Qing Dynasty export bowls is a true reflection of the interweaving of multiple factors such as comfort design and aesthetic preferences, while the uniformity in shape is a comprehensive reflection of meeting market demands and advances in production technology. This study extends the research dimension to the interaction between standardized production techniques and socio-cultural demands.

Quantitative typological analysis applied to the morphology of export mugs and their social factors in the Ming and Qing dynasties from the perspective of East–West trade

“…The larger volumes of certain mugs, such as sample-1, sample-9, sample-17, sample-22, sample-23, and sample-18, might be a response to the niche market for personalized customization. For instance, Ao et al [25] observed that some Qing dynasty bowls were as large as basins, exceeding conventional sizes, and interpreted these as symbols of status and wealth. Similarly, Costin and Hagstrum [60] noted differences in the forms of everyday items and luxury goods in early Peruvian markets due to consumer orientation.…”

“…Known as ''mugs (马克杯), '' these vessels, originating in mid-sixteenth century Europe, initially featured large handles, robust bodies, and intricate designs to signify the user's status and wealth [24]. While the exact time of their introduction to the Chinese market is not documented, research by Ao et al [25] and Kharchenkova [26] suggests their arrival post-1757 with the establishment of the Cantonese thirteen-hongs, the sole legal trading entity in Guangzhou from 1757 to 1840 [27]. Figure 1 presents a custom design blueprint of a mug circulated in the Qing Dynasty Guangzhou market by the West [28], exemplifying early trends in East-West cultural exchange and product customization.…”

“…Osipova et al [35] applied morphological typology to examine hand axes from the Aral Sea and Mugalzhar regions, uncovering cultural exchange evidence. Ao et al [25] categorized Qing Dynasty export porcelain bowls into ring-footed and non-ring-footed groups, comparing their bottom and belly curves through matrix grid analysis. They noted some bowls exceeding typical dining ware dimensions, highlighting the production system's adaptation to market demands.…”

“…Data collection for artifact morphology includes methods like 3D modeling, 3D scanning, creating Autocad libraries, museum data collection, and historical archives. Ao et al [25] gathered frontal images and dimensions from museum electronic displays, replicating them in Autocad and adjusting them through multiple calibrations. Di Angelo et al [39] used 3D scanners to obtain point cloud data of ceramic fragments, identifying uniformity and building a 3D database.…”

Impressions of Guangzhou city in Qing dynasty export paintings in the context of trade economy: a color analysis of paintings based on k-means clustering algorithm

“…Presently, export paintings serve as evidence of Guangzhou's foreign trade and the evolution and integration of Chinese and Western cultures. With the enforcement of the sea ban policy from 1757-1842, the Guangzhou Thirteen-houses were designated monopolies for foreign trade [14]. The emergence of Guangzhou export paintings can be traced back to numerous art studios within the commercial streets of Guangzhou Thirteen-houses.…”