Teapot. Chinese Famille verte porcelain with enamels in guyuexuan style. Ht. 12.9 cm. Qing dynasty, Qianlong period.
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Teapot. Chinese Famille verte porcelain with enamels in guyuexuan style. Ht. 12.9 cm. Qing dynasty, Qianlong period.
Hiroji Kubota: Guilin, China (1980)
Lao zini mellon teapot, with dancai images.
from mudandleaves.com
Wood fired Jianshui zitao teapot with coloured clay crane images.
Images from bitterleafteas.com.
Jin Shuren, warlord of the Soviet-backed Xinjiang clique, looking like some type of nefarious evil sorcerer, goes hard ig.
Originally the principal of a teacher-training academy, Jin ascended to the leadership of the 'Xinjiang clique', administrating a regime marked by corruption and internal suppression, not unlike the regime in Xinjiang today.
Male prisoner in shackle and stock, late Qing Dynasty.
photographed by Fosco Maraini, 1938–1941, in Hokkaido, Japan.
Chinese-style Opium paraphernalia. from Steven Martin's "Opium Fiend"
"Chandu" is the term for refined opium prepared for imbibition via pipe. Opium smokers typically prepared a pipe by heating a copper pan of liquid opium over an oil lamp (fragrant coconut oil was preferred, however vegetable oil was common). This heating turned the opium viscous, allowing for it to be collected onto an "Opium needle" and dexterously rolled into a spherical "pill" against a small handheld pallet, or the surface of the pipe bowl. The pill could then be placed inside a ceramic chamber, referred to as the bowl, by ramming the needle through a narrow pinhole.
Just like teapots in Chinese tea culture, bowls made from Yixing clay were prized for their porosity and capacity to absorb the aromatic oils of their contents, cultivating a patina which, if formed from high quality Chandu, could augment the aromatics and intoxicating effect of each pill. Aside from the bowl, the material of the pipe body played a role in enhancing the vapours, porous woods and woody stems, like that of sugarcane, were equally important for subtly enhancing the texture and aroma, while still preserving the complexity of the vapours.
The pipe would be held just above the lamp, with intent to vaporise the Chandu without burning away the alkaloids responsible for the blissful effects (Opium 'smoking' is somewhat of a misnomer). As depicted in media, Opium smokers would typically recline with their pipes, as this was the most comfortable position to hold bowl over the lamp. Unadulterated Opium is said to induce an energised awareness and feelings of childlike wonder and optimism, conducive to the appreciation of art and poetry among the originators of opium culture, Qing literati. The everyday Opium addict was unlikely to be enjoying this pure form of the drug, rather their Chandu was likely to have undergone several stages of adulteration, allowing for distributors to sell higher quantities of diluted Opium. To make up for the lost potency due to dilution, "Dross" the oily residue which was cleaned from the pipe bowl after use, would be added. Dross contained high concentrations of Morphine, and would result in sedation when smoked. Dross contaminated Opium is likely what is responsible for the popular perception of Opium and its effects.
Likely a late Qing dynasty anti-opium poster.
ʿAbd-ar-Raḥmān aṣ-Ṣūfī, Ibn-ʿUmar : Kitāb Ṣuwar al-kawākib
illustration from the book of constellations.
A copy of calligraphy originally written by Kūkai (Kōbō Daishi).
A POTTERY SHOP OF KAGOSHIMA
“Kago” ware, named after this city, is well known to collectors. The Satsuma kilns were founded by two Korean potters late in the 16th century.”
Photographer: Suito c.1924
Kyoto, Japan. Photography by Hisa @Hisa0808
Pickpocket (Jia Zhangke, 1998).
Daoist priest and Anti-Japanese partisan Li Yuantong, photographed by Ye Manzhi 1941.