Search

The relationship between social factors and the formation of exported mug designs is blurred. This study addresses how they influence material design. Based on a quantitative typological analysis, this paper interprets the cultural relationships underlying the evolution of mug designs exported during the Ming and Qing dynasties. The study reveals: (1) the typology and handle styles of mugs can be categorized into six types, with a predominance of Cylindrical bodies and Ear-shaped handles. Notably, artistic emphasis is concentrated on Bulbous cup bodies and Tail outward curved handles; (2) the design of mugs in the eighteenth century exhibited diversity, morphological similarities, and feature continuity, evolving from representational (Ming Dynasty) to abstract and then to minimalistic styles (Qing Dynasty), particularly evident in the three-dimensional modeling of handles for ergonomic comfort (transitioning from a singular Outward curved form to Ear-shaped form, and then to Entwined branch form); (3) the body shape of mugs transformed from Arc-barrel bodies to Bulbous bodies (focusing on heat retention), and eventually to Cylindrical bodies (prioritizing heat retention, practicality, and cost-efficiency).; (4) the volume of mugs steadily increased from the early eighteenth century, generally classified into large volume (≥ 500 ml), medium volume (200-499 ml), and small volume (< 200 ml); (5) considering the extreme range of volume (11090 ml) and height (25 cm), it indicates that these two variables do not necessarily have a direct positive correlation; (6) the low center of gravity in handle design (average width of 3.4 cm against an average height of 9.9 cm for the body) reflects considerations for the distribution of liquid weight and operational convenience. The volume of sample-10 (11127 ml) notably exceeds the typical range for tea-drinking utensils, revealing the mechanism of wealth and status symbolism. Market demand orientation emerged as the primary driver for the evolution of export mug designs during the Ming and Qing Dynasties, with adjustments in the merchant system playing a secondary role. The transformation in mug design reflects the interplay of multiple factors, with the trend toward minimalist design being a response to market demands. [ABSTRACT FROM AUTHOR]

This article examines four typologies of secularism in China from the sixteenth century onward, through an analysis of the triadic relationship between the secular, religious, and superstitious. These notions have been considered to be derived from the particular intellectual and political history of the West, but this fails to grasp the complexity of non-Western belief systems. This article proposes to instead examine how Chinese policymakers and intellectuals actively fabricated religion and produced secularization. It goes beyond a simple rebuttal of Eurocentrism, and arguments regarding the mutual incomparability of Western and Chinese experiences of secularization. It distinguishes four typologies of secularism that emerged successively in China: (1) the reduction of Christianity from the sixteenth century to the 1900s; (2) the Confucian secular and (3) atheist secular that were conceptualized, respectively, by royalist reformers and anti-Manchu revolutionaries during the final two decades of the Qing Dynasty; and (4) the interventionist secularism pursued by the Republican and the Communist regimes to strictly supervise and regulate religious beliefs and practices. The paper argues that, if secularization is indeed Christian in nature, secularism and religion were not imposed in China under Western cultural and political hegemony. Instead, the Christian secular model was produced in China mainly via pre-existing cultural norms and the state's ad hoc political needs, making the Christian secularism itself a multipolar phenomenon. [ABSTRACT FROM AUTHOR]