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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]

Guangzhou is located in the southern part of China, near the South China Sea, belongs to Guangdong Province. It serves as China's southern gateway to the world and was historically called "The Southern Treasure of the Emperor", playing a crucial role in China's maritime trade history. Throughout Chinese history, Guangzhou underwent several cycles of "closure" and "opening", policies that severely impacted trade. However, foreign merchants never ceased to request permission from the Chinese government to engage in trade. In 1757, Emperor Qianlong decreed Guangzhou as the only one official port for foreign trade. This edict led to the establishment of the one port trading system in Guangzhou, as the Qing government aimed to counter foreign influences and local uprisings while maintaining a self-sufficient small-scale agricultural economy. Western nations and their traders sought opportunities within this system, aspiring to expand trade to other regions of China, even the inland areas. The exclusive status of Guangzhou as China's only one trading port persisted until 1842, following the defeat of the Qing government in the Opium War against Britain, the Nanjing Treaty was signed. This treaty opened Guangzhou, Shanghai, Ningbo, Fuzhou, and Xiamen as trading ports, bringing an end to the one port trading system. The reasons and impacts of the establishment of this system have not been comprehensively analyzed to date. Therefore, this paper based on historical archives, analyzes both the direct and underlying reasons behind Emperor Qianlong's decision and elucidates the system's diverse impacts on various aspects of Qing-era China. [ABSTRACT FROM AUTHOR]

In the 18th and 19th centuries, the exported paintings recording realistic themes with realistic skills was popular in Guangzhou. Pith painting was the watercolor painting drawn on rice paper, which was thin and colorful, in which characters and scenes were vivid, recording production and life at that time in details. Therefore, it is the precious image data to study the society, production, life and folk customs of that time. Based on the analysis and research of a set of pith paintings with the theme of Pekoe in China (Hainan) Museum of the South China Sea, the cultivation, production, trade and circulation of Pekoe in the Qing Dynasty are discussed in details. [ABSTRACT FROM AUTHOR]

This article looks at how globalization in the nineteenth century was inextricably entangled with localization in the Canton–Hong Kong–Macau nexus on the southern fringe of China by tracing the growth of its unique medical culture. It explains the 'glocalizing' process by tracing the development of this medical culture, which consists of knowledge construction and institution building, in the context of highly volatile epidemiological conditions aggravated by increasingly heavy inter-regional trade and migration. It traces the dynamic circulation of people, materials, ideas, and practices in this southern edge of China, which was traditionally connected to southeast Asia and shared ecological backdrops that produced similar epidemiological experiences. The Canton nexus in the nineteenth century saw the growth of native medical knowledge that focused less on theoretical innovation than on the efficacy of therapeutic strategies. These ideas were likely to have been informed or reinforced by new anatomical knowledge disseminated by Western medical missionaries on the ground early in the century. The medical culture in the region was also marked by the formation of a series of local institutions that were fusions of Western-style hospitals and native merchant-run charity halls where diseases were studied and treated, and new public health management negotiated and implemented by experts from different traditions. [ABSTRACT FROM AUTHOR]

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