• 수완나부미
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• 제2권1호
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• pp.1-16
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• 2010

Vietnamese Blue and White Porcelain is famous for its unique form and colour of cobalt. It is said to be producted from the late of 14th Century to now. Vietnamese Blue and White Porcelain of 14th Century has a Mum design similar to that of Blue and White Porcelain of 14th Century in China. The Vietnamese Blue and White Porcelain of 15th, 16th Century was trade Ceramics which were shipped overseas. A base, having a dated inscription corresponding to 1450 and kept in the Topkapi Saray Museum is the best example of Vietnamese trade ceramics. The Vietnamese Blue and White Porcelain of 15th, 16th Century was a substitute for Chinese trade ceramics in these times when China had a police of the closure of China borderers to sea trade to protect China and was exported to the western Asia and the Southeast Asia. In recent, Fustat relics of Egypt was excavated the Vietnamese Blue and White Porcelain. It means that Vietnamese Ceramics of 15th, 16th Century was substitute for Chinese trade ceramics. In addition, Thai Blue celadon of 15th Century was exported to the western Asia as like Vietnamese Blue and White Porcelain. But when a police of the closure of China borderers to sea trade in China was stopped in the late of 16th Century and Chinese Ceramics were reborn in the same time, the Vietnamese Blue and White Porcelain was declined as trade items.

• 수완나부미
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• 제3권2호
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• pp.153-160
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• 2011

• 한국융합학회논문지
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• 제10권2호
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• pp.133-139
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• 2019

송(宋)대 민남(?南)지역의 수출 도자기 융합현상 분석 중국 송(宋)나라 시대(960-1279) 민남(?南)에서 제작된 도자기는 필리핀, 태국 등 동남아시아지역을 비롯한 한국, 일본, 멀리는 아프리카까지 무역을 통해 수출되었다. 중국 역사에서 3대 해양무역의 제품인 도자기를 통해 국내를 비롯한 해외와 교역하면서 왕성하게 발전하였다. 민남의 청자가 세계적으로 알려진 것에는 당시 민남 지역만의 지리적, 문화적, 정치적, 경제적 특성들이 조화롭게 상호작용을 통해 융합된 결과이기도 하다. 이는 민남 도자기가 중국 도자기 역사상 유일한 융합의 가치를 세운 근본 원인이기도 하다. 또한, 이러한 민남 도자기는 특수한 문화적 융합의 형태와 산업 모델을 제시하였다. 이 연구에서는 민남에서 보이고 있는 다양한 융합현상을 지리적, 문화적, 정치적, 경제적 환경에서 발생한 민남 도자기의 특성을 통해 분석한다. 이를 통해 도자분야의 지속적 발전을 위한 새로운 패러다임으로서 환경적 영향에 의한 융합의 가능성을 전망해보고자 한다.

• Acta Via Serica
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• 제5권2호
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• pp.25-49
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• 2020

This essay, based on an oral presentation, provides the non-specialist, with an evaluation of the Mongols' influence and China and, to a lesser extent, on Russia and the Middle East. Starting in the 1980s, specialists challenged the conventional wisdom about the Mongol Empire's almost entirely destructive influence on global history. They asserted that Mongols promoted vital economic, social, and cultural exchanges among civilizations. Chinggis Khan, Khubilai Khan, and other rulers supported trade, adopted policies of toleration toward foreign religions, and served as patrons of the arts, architecture, and the theater. Eurasian history starts with the Mongols. Exhibitions at the Metropolitan Museum of Art and the Los Angeles County Museum of Art confirmed that the Mongol era witnessed extraordinary developments in painting, ceramics, manuscript illustration, and textiles. To be sure, specialists did not ignore the destruction and killings that the Mongols engendered. This reevaluation has prompted both sophisticated analyses of the Mongols' legacy in Eurasian history. The Ming dynasty, the Mongols' successor in China, adopted some of the principles of Mongol military organization and tactics and were exposed to Tibetan Buddhism and Persian astronomy and medicine. The Mongols introduced agricultural techniques, porcelain, and artistic motifs to the Middle East, and supported the writing of histories. They also promoted Sufism in the Islamic world and influenced Russian government, trade, and art, among other impacts. Europeans became aware, via Marco Polo who traveled through the Mongols' domains, of Asian products, as well as technological, scientific, and philosophical innovations in the East and were motivated to find sea routes to South and East Asia.

• 한국전기전자재료학회:학술대회논문집
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• 한국전기전자재료학회 2001년도 추계학술대회 논문집 Vol.14 No.1
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• pp.472-475
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• 2001

The electrical properties and stability of ZPCCY-based varistors composing of $ZnO-Pr_{6}O_{11}-CoO-Cr_{2}O_{3}-Y_{2}O_{3}$ ceramics were investigated with sintering time. As sintering time is increased, the nonlinear exponent decreased in the range of 51.19~26.70. Among varistors having above 30 in nonlinear exponent, for the varistor sintered for 1h, the nonlinearity was superior to the stability comparatively and, in the case of 2h, the stability was superior to the nonlinearity relatively. Consequently, it is estimated that the varistors sintered for 1~2h will be applied to various fields by trade-off between nonlinearity and stability.

• 한국전기전자재료학회:학술대회논문집
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• 한국전기전자재료학회 2001년도 추계학술대회 논문집
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• pp.472-475
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• 2001

The electrical properties and stability of ZPCCY-based varistors composing of ZnO-Pr$_{6}$ O$_{11}$ -CoO-Cr$_2$O$_3$-Y$_2$O$_3$ ceramics were investigated with sintering time. As sintering time is increased, the nonlinear exponent decreased in the range of 51.19∼26.70. Among varistors having above 30 in nonlinear exponent, for the varistor sintered for 1h, the nonlinearity was superior to the stability comparatively and, in the case of 2h, the stability was superior to the nonlinearity relatively. Consequently, it is estimated that the varistors sintered for 1∼2h will be applied to various fields by trade-off between nonlinearity and stability.

• 동남아시아연구
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• 제21권2호
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• pp.329-358
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• 2011

The pottery and porcelain of Myanmar is very various such as Celadon, Black glazed large Jar and White galzed Jar painted Green Colour. In these Myanmarese Ceramics, Black glazed large Jar is very important to understand the Character and Role of Myanmar Ceramics. The description on the Black glazed large Jar of Myanmar is seen in several Books such as a travel essay of Ibun Battuta, Duarte Barbosa, The book of Duarte Barbosa: A Account of the Contries Bordering on the Indian Ocean and their Inhabitants, Jan Huygen van Linschoten, Volker, T., Porcelain and the Dutch East India Company These descriptions on the Black glazed Jar in these Books are important evidence to discovery the existence of it and its Types and Price and Use. The appearance of Black glazed Jar of Myanmar is considered in the Middle of 14C with the description of the Book of Ibn Battuta. Furthermore, Excavated from the Shipwreck of China in the Sinan, Chellanamdo, it is certain that the Black glazed large Jar was already existed in the early of 14C. And it was considered that the Shipwreck of China in the Sinan, Chellanamdo was started from Ninbo(寧波) of China to the destination of Japan with the Inscrition made Bamboo. So we know that The route of $Ninbo{\rightarrow}Korea{\rightarrow}Japan$ is very important in the Trade Ceramics of East Asia in 14C. And The size of Black glazed Jar has 3 types, Large, Middle and Small. The large type is used as a Tools for Water and Oil. The small type is the personal bottle for drinking. The Price of Black glazed Jar of Myanmar was changed as times go by. The price of the late of 16C and the early of 17C is 30 prolin and the late of 17C is 8 Prolin. The price of the Black glazed Jar of Myanmar in the late of 16C and the early of 17C is estimated 3 times for the price of the late of 17C. and This change of the price of Myanmarese Black Glazed Jar is decided on the Demand and Supply. and the Black glazed Jar of Myanmar was mainly used for the tools for Morpin in the year of 1620 and for Salt and Sugar in the year of 1640 and for Water and Oil in the late of 17C.

• Acta Via Serica
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• 제9권1호
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• pp.1-32
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• 2024

The archaeological remnants of coastal ports and shipwrecks serve as invaluable heritage sites that provide profound insights into historical maritime activities conducted by humans. Cross-regional voyages occurred as early as the beginning of the first millennium, aided by the increasing knowledge of the monsoons. Along with expanding intra- and inter-sailing routes, the improved seaworthiness of vessels facilitated the movement of people and seaborne commodities. The names of the Indic, Kunlun, and Persian ships appear in various historical accounts written in the latter half of the first millennium, and the structural details and characteristics can be physically examined by looking at shipwrecks. Southeast and East Asian shipwrecks from the eighth to the fourteenth century provide a perspective on the dynamism of types of seagoing ships involved in long-distance trade. By examining the remnants of cargo being transported by these ships, we begin to understand how the system of cross-regional shipment of heavy and bulky items, metal objects, fragrant woods, glass, and ceramics sustained and impacted the religions, societies, culture, and regional economies. Furthermore, it helps define the Maritime Silk Route heritage to be managed and protected. As such, this paper gives the archaeological evidence of port ruins and wrecks and also introduces, as an example, a case from Central Vietnam.

• 패션비즈니스
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• 제22권1호
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• pp.100-113
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• 2018

From the late 17th to the early 18th century, Europeans were strongly intrigued by products from the East. Therefore, several countries like England, France, and Netherlands formed the 'East India Company' to pursue trade. First, European markets rapidly responded to this desire for exoticism by importing goods; then, they produced imitation Oriental goods. Finally, they made stylistically advanced exotic merchandise from the perspectives of European. In terms of the textile industry, this trend was expressed in the pattern design of silk, or the so called 'bizarre silk.' In this paper, bizarre silk patterns were scrutinized based on a digital archive of museums, catalogues of museums, portal sites, and the literature. The bizarre silk patterns were analyzed then classified into six categories: pseudo-Oriental plant pattern, pattern mingled with architectural motifs, pattern of juxtaposed with Oriental goods, abstract pattern, exuberant pattern with metal threads, and semi-naturalistic pattern. These patterns were characterized according to the following features: strangely large exotic floral patterns were undulating and asymmetrical; exotic foliage and flowers were sometimes mixed with architectural motifs or Oriental goods to easily show the Oriental influence; motifs of bizarre silk patterns were abstractly stylized; bizarre silk patterns became luxurious once more like the Baroque period; finally, floral patterns became more natural, and still exotic motifs remained in the background to maintain the bizarre silk features. These bizarre silk patterns evolved from the viewpoints of Europeans through acceptance stage, compound stage, and confluent stage.