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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]

Study on export paintings has gradually shifted from artistic form to cultural connotation, with an emphasis on cross-cultural communication. Although the economic and social dimensions of their artistic value have been explored, few studies delve into the connection between Qing-era Guangzhou's trade culture and its color characteristics. Utilizing the HSV color model and the k-means algorithm, this study analyzes the color traits of 35 export paintings depicting Guangzhou landscapes and works from the "Thirteen-houses commercial zone," revealing Qing-era Guangzhou's urban impressions and Sino-Western artistic interactions. Key findings include: (1) the hue pixel range in Guangzhou export paintings primarily spans 10°–60° and 120°–250° (dominated by red and yellow-green), saturation values range from 1–82% (primarily low saturation), and value values range from 11–94% (with a wide variance); (2) compared to traditional Chinese paintings, the transformation from pure color (正色) → inter-color (间色) → projection-perspective and light source illustrates both the blending of Eastern and Western artistic cultures and a diminishing influence of traditional ceremonial culture; (3) in contrast with Western artworks, some Guangzhou export paintings display a Westernization trend in color structures, evident in vibrant colors and stark chiaroscuro contrasts. As bespoke art commodities, export paintings microscopically reflect Guangzhou's unique trade culture and socio-political dynamics. The shifts in color schemes, integration of realistic styles, and human-centric characteristics unveil the intricate interplay between quasi-realism and transcendental aesthetics in Qing-era Guangzhou, as well as the nuanced dynamics between social capital and art within a global trade network. [ABSTRACT FROM AUTHOR]

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. [ABSTRACT FROM AUTHOR]