In Colours and Contrast Clarence Eng covers the social history of architectural ceramics in China, their development both aesthetically (as ornament) and technically (as durable, protective components) in ancient Chinese architecture from palaces and temples to pagodas and screen walls.

A compelling examination of the ultimate global commodity, blue and white porcelain, from kiln to consumers across the globe.

Production, Distribution and Appreciation: New Aspects of East Asian Lacquer Ware, edited by Patricia Frick and Annette Kieser, focuses on various aspects of East Asian lacquer art ranging from the 2nd century BC to the 17th century. Recent excavations in China, the distribution of lacquer objects throughout the Eurasian region, the significance of lacquer ware in everyday life, technical aspects of lacquer production in Korea, and the appreciation of Japanese lacquer in Asia and Europe are analysed in six chapters by international experts in the field: Patricia Frick; Annette Kieser; Nanhee Lee; Yan Liu; Margarete Prüch and Anton Schweizer. Production, Distribution and Appreciation: New Aspects of East Asian Lacquer Ware is published in association with the European Association for Asian Art and Archaeology.

Since the Oriental Ceramic Society was established in 1921 it has organised a number of exhibitions which have comprised, wholly or in part, material from the collections of its members. Coming into the 21st century, the Society decided to stage a series of exhibitions taking as their these the decorative techniques applied to Asian ceramics. The first of these exhibitions was held in 2003 and was shown in three venues--in London, Bath and Glasgow. This exhibition tackled the subject of underglaze cobalt blue decoration and was called The World in Blue and White. The second in the series was held in 2006 and examined ceramics with polychrome decoration, whether applied directly to the unfired ceramic body or slip, or applied over an already fired glaze. This exhibition was called The World in Colours, and, like the current exhibition was held at the School of Oriental and African Studies, University of London, in their Brunei Gallery.--preface.

This Chinese-English bilingual catalogue accompanies an exhibition which presents 178 pieces of Jingdezhen monochromes of the Yuan to Qing periods from the Zhuyuetang collection. The exhibits illustrate systematically the development and the comprehensive varieties of monochrome wares fired at the Imperial Factory in Jingdezhen from the fourteenth to the nineteenth centuries.