Chinese Longquan celadon, a type of green-glazed ceramic, is one of the most famous branded and trade products, particularly during the 13th and 14th centuries. Its archaeological and historical materials possess multiple attributes with plentiful cultural information. The objective of the present book is to vivify these materials and provide a broader perspective and additional methodologies to review and gain a new and more profound understanding of Longquan celadon. The first part of this book focuses on elite Longquan celadon in China's Southern Song (1127-1278) and Yuan (1271-1368) periods. The second part focuses on elite Longquan celadon products as imports in medieval Japan. These products played a crucial role in shaping medieval Japanese culture.

Between 839 and 1403 CE, there was a six-century lapse in diplomatic relations between present-day China and Japan. This hiatus in what is known as the tribute system has led to an assumption that there was little contact between the two countries in this period. Yiwen Li debunks this assumption, arguing instead that a vibrant Sino-Japanese trade network flourished in this period as Buddhist monks and merchants fostered connections across maritime East Asia. Based on a close examination of sources in multiple languages, including poems and letters, transmitted images and objects, and archaeological discoveries, Li presents a vivid and dynamic picture of the East Asian maritime world. She shows how this Buddhist trade network operated outside of the framework of the tribute system and, through novel interpretations of Buddhist records, provides a new understanding of the relationship between Buddhism and commerce.

In recent years, major new archaeological discoveries have redefined the development of towns and cities in Japan. This fully illustrated book provides a sampler of these findings for a western audience. The new discoveries from Japan are set in context of medieval archaeology beyond Japan by accompanying essays from leading European specialists.

Illuminating one thousand years of history, The Pilgrim Art explores the remarkable cultural influence of Chinese porcelain around the globe. Cobalt ore was shipped from Persia to China in the fourteenth century, where it was used to decorate porcelain for Muslims in Southeast Asia, India, Persia, and Iraq. Spanish galleons delivered porcelain to Peru and Mexico while aristocrats in Europe ordered tableware from Canton. The book tells the fascinating story of how porcelain became a vehicle for the transmission and assimilation of artistic symbols, themes, and designs across vast distances—from Japan and Java to Egypt and England. It not only illustrates how porcelain influenced local artistic traditions but also shows how it became deeply intertwined with religion, economics, politics, and social identity. Bringing together many strands of history in an engaging narrative studded with fascinating vignettes, this is a history of cross-cultural exchange focused on an exceptional commodity that illuminates the emergence of what is arguably the first genuinely global culture.

In On Their Own Terms, Benjamin A. Elman offers a much-needed synthesis of early Chinese science during the Jesuit period (1600-1800) and the modern sciences as they evolved in China under Protestant influence (1840s-1900). By 1600 Europe was ahead of Asia in producing basic machines, such as clocks, levers, and pulleys, that would be necessary for the mechanization of agriculture and industry. In the seventeenth and eighteenth centuries, Elman shows, Europeans still sought from the Chinese their secrets of producing silk, fine textiles, and porcelain, as well as large-scale tea cultivation. Chinese literati borrowed in turn new algebraic notations of Hindu-Arabic origin, Tychonic cosmology, Euclidian geometry, and various computational advances. Since the middle of the nineteenth century, imperial reformers, early Republicans, Guomindang party cadres, and Chinese Communists have all prioritized science and technology. In this book, Elman gives a nuanced account of the ways in which native Chinese science evolved over four centuries, under the influence of both Jesuit and Protestant missionaries. In the end, he argues, the Chinese produced modern science on their own terms.

Ceramics and Modernity in Japan offers a set of critical perspectives on the creation, patronage, circulation, and preservation of ceramics during Japan’s most dramatic period of modernization, the 1860s to 1960s. As in other parts of the world, ceramics in modern Japan developed along the three ontological trajectories of art, craft, and design. Yet, it is widely believed that no other modern nation was engaged with ceramics as much as Japan—a "potter’s paradise"—in terms of creation, exhibition, and discourse. This book explores how Japanese ceramics came to achieve such a status and why they were such significant forms of cultural production. Its medium-specific focus encourages examination of issues regarding materials and practices unique to ceramics, including their distinct role throughout Japanese cultural history. Going beyond descriptive historical treatments of ceramics as the products of individuals or particular styles, the closely intertwined chapters also probe the relationship between ceramics and modernity, including the ways in which ceramics in Japan were related to their counterparts in Asia and Europe. Featuring contributions by leading international specialists, this book will be useful to students and scholars of art history, design, and Japanese studies.