title: Chinese ceramics

text: Although not as highly ranked as "Ru" ware, the late Ming dynasty connoisseur Gao Lian awards Ding ware a brief mention in his volume "Eight Discourses on the Art of Living". Classified under his sixth discourse, the section on "pure enjoyment of cultured idleness", Master Gao said: "The best sort has marks on it like tear-stains… Great skill and ingenuity is displayed in selecting the forms of the vessels."


title: Chinese ceramics

text: Like Ding ware, Ru ware (Wade–Giles: ju) was produced in North China for imperial use. The Ru kilns were near the Northern Song capital at Kaifeng. In similar fashion to Longquan celadons, Ru pieces have small amounts of iron oxide in their glaze that oxidize and turn greenish when fired in a reducing atmosphere. Ru wares range in colour—from nearly white to a deep robin's egg—and often are covered with reddish-brown crackles. The crackles, or "crazing", are caused when the glaze cools and contracts faster than the body, thus having to stretch and ultimately to split, ("as seen in the detail at right; see also" ). The art historian James Watt comments that the Song dynasty was the first period that viewed crazing as a merit rather than a defect. Moreover, as time went on, the bodies got thinner and thinner, while glazes got thicker, until by the end of the Southern Song the 'green-glaze' was thicker than the body, making it extremely 'fleshy' rather than 'bony,' to use the traditional analogy ("see section on" Guan "ware, below"). Too, the glaze tends to drip and pool slightly, leaving it thinner at the top, where the clay peeps through.


title: Chinese ceramics

text: As with Ding ware, the Song imperial court lost access to the Ru kilns after it fled Kaifeng when the Jurchen-led Jin dynasty conquered northern China, and settled at Lin'an (present-day Hangzhou) in the south. There, the Emperor Gaozong founded the "Guan yao" ('official kilns') right outside the new capital in order to produce imitations of Ru ware. However, posterity has remembered Ru ware as something unmatched by later attempts; Master Gao says, "Compared with Guan yao, the above were of finer substance and more brilliant luster."


title: Chinese ceramics

text: Jun (Wade–Giles: chün) ware was a third style of porcelain used at the Northern Song court. Characterized by a thicker body than Ding or Ru ware, Jun is covered with a turquoise and purple glaze, so thick and viscous looking that appears to melting off the golden-brown body. Not only are Jun vessels more thickly potted, their shape is much more robust than the fine Jun pieces, yet both types were appreciated at the court of Emperor Huizong. Jun production was centred at Jun-tai in Yuzhou, Henan Province.


title: Chinese ceramics

text: Guan (Wade–Giles: kuan) ware, literally means "official" ware; so certain Ru, Jun, and even Ding are "Guan" in the broad sense of being produced for the court. Usually the term in English only applies to that produced by an official, imperially run kiln, which did not start until the Southern Song dynasty fled from the advancing Jin dynasty and settled at Lin'an. During this period walls become very thin, with glaze thicker than the wall. The clay in the foothills around Lin'an was a brownish colour, and the glaze very viscous.


title: Chinese ceramics

text: Ge (Wade–Giles: ko), literally "big-brother" ware, due to a legend of two brothers working in Longquan, one made the typical celadon style ceramics, the elder made "ge" ware, produced in his private kiln. Ming dynasty commentator Gao Lian writes that the "ge" kiln took its clay from the same site as "Guan" ware, accounting for the difficulty in distinguishing one from the other (though Gao thinks ""Ge" is distinctly inferior" to Guan). Overall, Ge remains somewhat elusive, but basically comprises two types—one with a 'warm rice-yellow glaze and two sets of crackles, a more prominent set of darker colour interspersed with a finer set of reddish lines' (called "chin-ssu t'ieh-hsien" or 'golden floss and iron threads', which can just faintly be detected on this bowl). The other Ge ware is much like Guan ware, with grayish glaze and one set of crackles. Once thought to have only been manufactured alongside Longquan celadon, per its legendary founding, Ge is now believed to have also been produced at Jingdezhen.


title: Chinese ceramics

text: While similar to Guan ware, Ge typically has a grayish-blue glaze that is fully opaque with an almost matte finish. Its crackle pattern is exaggerated, often standing out in bold black. Though still shrouded in mystery, many specialists believe that Ge ware did not develop until the very late Southern Song dynasty or even the Yuan dynasty. In any case, enthusiasm for it persisted throughout the Ming dynasty; Wen Zhenheng preferred it to all other types of porcelain, in particular for brush washers and water droppers (although he preferred jade brush washers to porcelain, Guan and Ge were the best ceramic ones, especially if they have scalloped rims). Differences between later Ming imitations of Song/Yuan Ge include: Ming versions substitute a white porcelain body; they tend to be produced in a range of new shapes, for example those for the scholar's studio; glazes tend to be thinner and more lustrous; and slip is applied to the rim and base to simulate the "brown mouth and iron foot" of Guan ware.


title: Chinese ceramics

text: Qingbai wares (also called 'yingqing') were made at Jingdezhen and at many other southern kilns from the time of the Northern Song dynasty until they were eclipsed in the 14th century by underglaze-decorated blue and white wares. Qingbai in Chinese literally means "clear blue-white". The qingbai glaze is a "porcelain glaze", so-called because it was made using pottery stone. The qingbai glaze is clear, but contains iron in small amounts. When applied over a white porcelain body the glaze produces a greenish-blue colour that gives the glaze its name. Some have incised or moulded decorations.


title: Chinese ceramics

text: The Song dynasty qingbai bowl illustrated was likely made at the Jingdezhen village of Hutian, which was also the site of the imperial kilns established in 1004. The bowl has incised decoration, possibly representing clouds or the reflection of clouds in the water. The body is white, translucent and has the texture of very-fine sugar, indicating that it was made using crushed and refined pottery stone instead of pottery stone and kaolin. The glaze and the body of the bowl would have been fired together, in a saggar in a large wood-burning dragon kiln, typical of southern kilns in the period.


title: Chinese ceramics

text: Though many Song and Yuan dynasty qingbai bowls were fired upside down in special segmented saggars, a technique first developed at the Ding kilns in Hebei province. The rims of such wares were left unglazed but were often bound with bands of silver, copper or lead.


title: Chinese ceramics

text: One remarkable example of "qingbai" porcelain is the so-called Fonthill Vase, described in a guide for Fonthill Abbey published in 1823 as "an oriental china bottle, superbly mounted, said to be the earliest known specimen of porcelain introduced into Europe".


title: Chinese ceramics

text: The vase was made at Jingdezhen, probably around 1300 and was probably sent as a present to Pope Benedict XII by one of the last Yuan emperors of China, in 1338. The mounts referred to in the 1823 description were of enamelled silver-gilt and were added to the vase in Europe in 1381. An 18th-century water colour of the vase complete with its mounts exists, but the mounts themselves were removed and lost in the 19th century. The vase is now in the National Museum of Ireland. It is often held that "qingbai" wares were not subject to the higher standards and regulations of the other porcelain wares, since they were made for everyday use. They were mass-produced, and received little attention from scholars and antiquarians. The Fonthill Vase, given by a Chinese emperor to a pope, might appear to cast at least some doubt on this view.


title: Chinese ceramics

text: Following in the tradition of earlier "qingbai" porcelains, blue and white wares are glazed using a transparent "porcelain glaze". The blue decoration is painted onto the body of the porcelain before glazing, using very finely ground cobalt oxide mixed with water. After the decoration has been applied the pieces are glazed and fired.


title: Chinese ceramics

text: It is believed that underglaze blue and white porcelain was first made in the Tang dynasty. Only three complete pieces of Tang blue and white porcelain are known to exist (in Singapore from the Indonesian Belitung shipwreck), but shards dating to the 8th or 9th century have been unearthed at Yangzhou in Jiangsu Province. It has been suggested that the shards originated from a kiln in the province of Henan. In 1957, excavations at the site of a pagoda in Zhejiang province uncovered a Northern Song bowl decorated with underglaze blue and further fragments have since been discovered at the same site. In 1970 a small fragment of a blue and white bowl, again dated to the 11th century, was also excavated in the province of Zhejiang.


title: Chinese ceramics

text: In 1975, shards decorated with underglaze blue were excavated at a kiln site in Jiangxi and, in the same year, an underglaze blue and white urn was excavated from a tomb dated to 1319, in the province of Jiangsu. It is of interest to note that a Yuan funerary urn decorated with underglaze blue and underglaze red and dated 1338 is still in the Chinese taste, even though by this time the large-scale production of blue and white porcelain in the Yuan dynasty, Mongol taste had started its influence at Jingdezhen.


title: Chinese ceramics

text: Starting early in the 14th century, blue and white porcelain rapidly became the main product of Jingdezhen, reaching the height of its technical excellence during the later years of the reign of the Kangxi Emperor (1661–1722) and continuing in present times to be an important product of the city.


title: Chinese ceramics

text: The tea caddy illustrated shows many of the characteristics of blue and white porcelain produced during the Kangxi period. The translucent body showing through the clear glaze is of great whiteness and the cobalt decoration, applied in many layers, has a fine blue hue. The decoration, a sage in a landscape of lakes and mountains with "blazed" rocks is typical of the period. The piece would have been fired in a saggar (a lidded ceramic box intended to protect the piece from kiln debris, smoke and cinders during firing) in a reducing atmosphere in a wood-burning "egg-shaped" kiln, at a temperature approaching .


title: Chinese ceramics

text: Distinctive blue-and-white porcelain was exported to Japan, where it is known as Tenkei blue-and-white ware or "ko sometsukei". This ware is thought to have been especially ordered by tea masters for Japanese ceremony.


title: Chinese ceramics

text: "Blanc de Chine" is a type of white porcelain made at Dehua in Fujian province. It has been produced from the Ming dynasty (1368–1644) to the present day. Large quantities arrived in Europe as Chinese Export Porcelain in the early 18th century and it was copied at Meissen and elsewhere.


title: Chinese ceramics

text: The area along the Fujian coast was traditionally one of the main ceramic exporting centres. Over 180 kiln sites have been identified extending in historical range from the Song dynasty to the present.


title: Chinese ceramics

text: From the Ming dynasty, porcelain objects were manufactured that achieved a fusion of glaze and body traditionally referred to as "ivory white" and "milk white". The special characteristic of Dehua porcelain is the very small amount of iron oxide in it, allowing it to be fired in an oxidising atmosphere to a warm white or pale ivory colour. (Wood, 2007)


title: Chinese ceramics

text: The porcelain body is not very plastic but vessel forms have been made from it. Donnelly, (1969, pp.xi-xii) lists the following types of product: figures, boxes, vases and jars, cups and bowls, fishes, lamps, cup-stands, censers and flowerpots, animals, brush holders, wine and teapots, Buddhist and Taoist figures, secular figures and puppets. There was a large output of figures, especially religious figures, e.g. Guanyin, Maitreya, Lohan and Ta-mo figures.


title: Chinese ceramics

text: The numerous Dehua porcelain factories today make figures and tableware in modern styles. During the Cultural Revolution "Dehua artisans applied their very best skills to produce immaculate statuettes of Mao Zedong and the Communist leaders. Portraits of the stars of the new proletarian opera in their most famous roles were produced on a truly massive scale." Mao Zedong figures later fell out of favour but have been revived for foreign collectors.


title: Chinese ceramics

text: Notable artists in "blanc de Chine", such as the late Ming period He Chaozong, signed their creations with their seals. Wares include crisply modeled figures, cups, bowls and joss stick-holders.


title: Chinese ceramics

text: Many of the best examples of "blanc de Chine" are found in Japan where the white variety was termed "hakugorai" or "Korean white", a term often found in tea ceremony circles. The British Museum in London has a large number of "blanc de Chine" pieces, having received as a gift in 1980 the entire collection of P.J. Donnelly.


title: Chinese ceramics

text: Chinese court taste long favoured monochrome wares, and although the Yuan dynasty saw blue and white porcelain accepted by the court, more fully polychrome styles took much longer to be accepted. Initially blue from cobalt was almost the only pigment that could withstand the high temperature of a porcelain firing without discolouring, but gradually (mostly during the Ming period) others were found, or the extra cost of a second firing at a lower temperature to fix overglaze enamels was accepted. Copper-reds could produce highly effective results underglaze, but at the cost of an extremely high proportion of greyish rejects, some of which remain in circulation, and thousands more of which have been found when kiln waste-heaps have been excavated. Eventually underglaze blue and overglaze red became the usual way of achieving the same result.


title: Chinese ceramics

text: Overglaze painting, usually called "enamels", was widely used in the popular Cizhou ware stonewares, and was sometimes experimented with by kilns producing for the court, but not until the 15th century, under the Ming, was the "doucai" technique used for imperial wares. This combined underglaze blue outlines with overglaze enamels in further colours. The "wucai" technique was a similar combination, with underglaze blue used more widely for highlights.


title: Chinese ceramics

text: Two-colour wares, using underglaze blue and an overglaze colour, usually red, also produced very fine results. A number of different other methods using coloured glazes were tried, often with images lightly incised into the body. The "fahua" technique outlined areas of coloured decoration with raised trails of slip, and the subtle "secret" ("an hua") technique decorated using very light incisions that could hardly be seen. As the range of glaze colours expanded, the taste for monochrome wares, now in the new strong colours, returned, and with it a number of special glazing effects were developed, including the return of crackle and spotty effects made by blowing powdered pigment onto the piece.


title: Chinese ceramics

text: The next development saw a group of 'families', or palettes of enamel colours used on Chinese porcelain. These are commonly known by their French names of , based on the dominant element in each colour palette are terms used to classify. A large proportion of these were export wares but some were made for the Imperial court.


title: Chinese ceramics

text: Pottery classified as stoneware in the West is usually regarded as porcelain in Chinese terms, where a stoneware group is not recognised, and so the definition of porcelain is rather different, covering all vitrified high-fired wares. Terms such as "" and "near-porcelain" are often used to reflect this, and cover wares that in Western terms lie on the border of stoneware and porcelain. High-fired stonewares were numerous from very early on, and included many high-prestige wares, including those for imperial use, as well as great quantities of everyday utilitarian pots. Usually they achieved their reputation by their glazes. Most of the celadon group, including Longquan celadons, especially earlier ones, can be classified as stoneware, and all classic Jian wares and Jizhou wares.


title: Chinese ceramics

text: By contrast, the Yixing clay teapots and cups made from Yixing clay from Jiangsu province are usually left unglazed, and not washed after use, as the clay is believed to improve the taste of the tea, especially after it acquires a patina from long use. There are in fact a number of different clays, giving a range of colours. The pots are unusual in that they are often signed by their potters, which is very rare in China, perhaps because they were associated with the literati culture, of which Jiangsu was a stronghold. The earliest datable example is from a burial of 1533 in Nanjing. Elaborately decorated examples, often with a rectangular body, were exported to Europe from the 18th century, and these and pots for local use often had poems inscribed on them. As well as teaware and desk objects such as brush-rests, fruit and other natural shapes were modelled as ornaments. Production continues today, generally using simpler shapes.


title: Chinese ceramics

text: The very first imperial kiln was established in the thirty-fifth year of Hongwu. Before that, there were no systematic regulations on the state-demanded porcelain production. The law stated that, if the quantity of ceramics demanded was big, potters would be conscripted and worked in the imperial kilns in Nanjing; if the quantity was small, the ceramics could be produced in private kilns in Raozhou. In either case, officials from the imperial centre were sent to supervise the production. The officials were responsible for making budgets, ensuring quality, and sending products back to the imperial court. Different rules on styles and sizes of the ceramics were put forward by the imperial court and must be strictly followed in the kilns. After 1403, imperial kilns were built, and carried out the imperial porcelain production on a large scale.


title: Chinese ceramics

text: During the mid-Ming period, the demand for porcelain increased, the temporarily assigned officials were not able to handle the project. In the Xuande Period, the imperial factory in Jingdezhen was established. The factory was divided into dormitories and pavilions on the north, official offices, and prisons on the east and workshops on the west. There were wells, wood sheds, temples and lounges for potters. The imperial factory in Jingdezhen was not a mere production site but also included government administrative offices.


title: Chinese ceramics

text: The imperial factory was divided into twenty-three departments, with each taking charge of different aspects of ceramics production. The work was subdivided by type and assigned to different departments like department of large vessels, small vessels, painting, carving, calligraphy, rope making and general carpentry. This subdividing of the work so that a single piece of a vessel could pass through several hands led to potters not signing pieces as they did in the private kilns. The division of labour also ensured a uniform style and size in the ceramics.


title: Chinese ceramics

text: The number of imperial kilns varies during the Ming period. There were fewer than ten imperial factories in the fifteenth century, then the number increased to 58, later again to 62 and then decreased to 18.


title: Chinese ceramics

text: Imperial orders demanded both individuality in the design of porcelain while also demanding large quantities of it. Understandably, these demands came from different sectors of the court that expected particular designs. For example, yellow and green products decorated with mythical flying creatures were specifically requested by the Directorate for Palace Delicacies. The need for both individual design and mass production was a recipe for exhausting demands on porcelain kilns. Many were forced to outsource their production to private kilns in order to meet court quotas. Those who managed the production at imperial factories understood the need for outsourcing as an answer to scalability. Outsourcing must have required a keen sense in picking private kilns that would deliver quality and quantity. Without cooperation and transparency between colleagues of different kilns, the satisfaction of the imperial court was in jeopardy.


title: Chinese ceramics

text: In the late Ming period, the corvée system in ceramics reformed with the strong influence of commercialization. Under the new system, a person would not be conscripted to work if he paid a certain amount of money. Many good potters thus left the imperial kilns and worked in the private ones where the pay was better. The late Ming period witnessed a drastic decline in the quality of pieces from the imperial kilns and a rise of private kilns.


title: Chinese ceramics

text: The private kilns existed in the early Ming dynasty and their production constituted a part of the tax income of the government. Apart from making ceramics for people's everyday life, private kilns also accepted orders from the imperial court. However, making and selling imperial style ceramics in private kilns was strictly forbidden.


title: Chinese ceramics

text: During the late Ming period, private kilns rose as imperial kilns declined. Many famous workers escaped from the overworked and underpaid environment in the imperial kilns to private ones. Private kilns were more involved in commercials than the imperial kilns did. In the late Ming period, several private kilns won great popularity among the literati, who were enthusiastic about the antique style porcelain. Examples were the Cui kiln (), Zhou kiln (), and Hu kiln (). Ceramics in the late Ming dynasty was produced in high quality and quantity, making Jingdezhen one of the earliest commercial centres in the world.


title: Chinese ceramics

text: Competition in the porcelain industry erupted following the failure of the corvée system. With government control at a low, investors could invest in many means of production, especially in handicraft industries. In Jingdezhen, over 70 percent of the 100,000 families occupying the 6.5 square kilometre town were involved in the porcelain industry.


title: Chinese ceramics

text: The economic resurgence brought on by the porcelain industry carried along its own ramifications. There existed two sides of the porcelain industry which are described as "jiating shougongye" (, "family-run industry") and "zuofang shougongye" (, "entrepreneurial industry"). Family-run industries reveal the ruthless and inhumane side of the porcelain industry as seen in the story of Yang Shi in “An Injustice Caused by a Slight Dispute Over One Penny”. The story vividly describes a scene of domestic violence as a result of the wife, Yang Shi, purchasing a drink worth a penny to soothe her aching stomach. This story sums up the drama within family-run industries as a result of the cut-throat approach to profits. Especially within work involving relatives or immediate family, one's own self worth and concept will be diminished in the face of success for the business.


title: Chinese ceramics

text: The cut-throat mentality served to blur the family hierarchy within family-run industries to some degree. Porcelain production required both the construction of pots as well as the decorations done after. Within a family-run pottery industry, the women took on this decorating role which helped to increase their value to the family. Men and women had to work harmoniously to produce good quality work and ultimately this spread throughout the porcelain industry.


title: Chinese ceramics

text: In the early Ming dynasty, the population could be divided into three categories: military, craftsmen, and peasants. Within the craftsmen system, most of the craftsmen were from the previous dynasty, the Yuan dynasty; others were prisoners or unemployed people. Craftsmen households members had to work throughout their lifetime, and their status was hereditary. There were two subcategories within the craftsmen system: military craftsmen, who were specialized in producing weapons; the ordinary craftsmen, who worked in various other industries. Potters belonged to the latter subcategory.


title: Chinese ceramics

text: In the early Ming period, whenever the court demanded ceramics, labor would be conscripted by the court in different ways. Usually, there were different types of workers in the imperial kilns. Most of the potters were selected from the craftsman households by the local government and served in the imperial kilns for three months in every four years for free; in other cases, workers were recruited from counties near the imperial kilns and paid regularly. Usually the recruited workers were assigned to different departments.


title: Chinese ceramics

text: The imperial factory was divided into twenty-three departments, with each department having managers and workers. The number of managers was usually less than five, and the number of workers was usually about ten to twenty.


title: Chinese ceramics

text: Making porcelain was not easy. More than half the firings of every kiln resulted in spoilt pieces and were thrown away in the neighborhood of Jingdezhen, resulting in a huge dump of porcelain fragments that still exist today. When the kiln was in action, it was important to control the fire, which ideally should produce a constant temperature. The proper choice, preparation, colouring, firing, and the slip should be made on every stage of the production. The regulations on the potters working in the imperial kiln were severe. Potters were punished for delaying, smuggling, producing inferior goods, and other misconducts.


title: Chinese ceramics

text: Overworked and underpaid, many potters refused or fled from being conscripted into the imperial kilns. By the time of Xuande period, the number of potters escaping from the corvee was about five thousand; in the first year of Jingtai, the number reached about thirty thousand. There was also a great discrepancy in the number of workers in different departments. Sometimes private kiln workers from the corresponding departments would serve as temporary workers in the imperial kilns. To regulate the potters, the government reformed the policy so that the potters would not have to work in the imperial kilns if they pay certain amount of money per month. The new law implied that the potters were no longer tied to the state government. Unable to stand the hard law and the heavy work, many talented workers found their new positions in the private kilns. The imperial kilns suffered from the lost in talented potters and labors, and the quality of the porcelain declined dramatically.


title: Chinese ceramics

text: Starting from the ninth year of Jiajing, a new policy was carried out. The government prepared their own materials, utilized the private kilns to make porcelain, and paid the private kilns based on the number of porcelain produced. However, the state was usually not able to pay the amount required.


title: Chinese ceramics

text: The industrialization of Chinese porcelain during the Ming dynasty was not possible without a post-production system that honored scalability as well as scarcity. Individual retail sales were important to kilns but wholesale orders were of even higher importance. In reality, wholesale orders were the backbone of porcelain economics. Without these orders that required months to a year of work to complete, demand would have definitely been lacking.


title: Chinese ceramics

text: Merchants entered provinces with little knowledge of how porcelain trade was conducted. They relied on brokers to introduce them to reliable kilns and ultimately negotiate prices. Once established, merchants took on negotiating matters. In particular, brokers helped alleviate risk for many kilns by analyzing the integrity of buyers. Due to the guild-esque nature between brokers and kiln owners, guilty knowledge of the buyer's secrets was common talk. If a buyer was deemed as unreliable, word spread throughout the province of such news. Potters claimed the license to know who the bad buyers were. This dangerous knowledge had the ability to ruin a buyer's reputation but on the contrary contributed to the success of kilns.


title: Chinese ceramics

text: In observing court orders, porcelain was required for culinary, religious, and display purposes. Since porcelain was often used once and thrown away by the court, imperial orders were at a continuous flow in porcelain factories. Demand was often too high for kilns to meet which hints at the necessity for scalability.


title: Chinese ceramics

text: From their respective kilns, fine porcelain was distributed over sea and land to Southeast Asia, Japan and the Middle East. The magnitude of foreign trade can be understood in a record showing over sixteen million pieces circulating through a Dutch East India Company. The land transportation showed the intensity of labor in the porcelain industry. Dozens of carts sent from Mongolia, Manchuria, Persia and Arabic countries were loaded in the Ming capital full of porcelain and other Chinese goods. Some carts reached thirty feet in height which must have required extreme attention to avoid broken porcelain. Due to the hollowness of porcelain vases, they were filled with soil and beans. The growth of the bean roots helped porcelain withstand further pressure during transportation. In order to effectively transport large amounts of porcelain, as much space in carts must have been used indicated by the thirty foot high carts. Knowing the risk that came with placing fragile porcelain next to and on top of one another, handlers of the porcelain mitigated that risk through the soil and bean method.


title: Chinese ceramics

text: Like the silk industry, the porcelain industry claimed merit for its mass-producing capabilities. Potters from lower economic backgrounds stuck true to their repetitive methods mostly due to the high risk in attempting new and not tested methods. Trying new techniques could result in the loss of an entire month's worth of work so for these potters, changing their method was not a luxury they could afford. These potters were found in peasant societies outside of Jingdezhen and highlight the particular code that limited their imaginative potential. For potters within Jingdezhen, the code that governed the way their products were created was greatly influenced by international markets. These markets inspired creativity and innovation as seen in how “Jingdezhen and other pottery centres produced ceramic versions of reliquaries, alms bowls, oil lamps, and stem-cups” The difference in code did not necessarily contribute to a hierarchical division but rather a diversification in the personality behind Chinese porcelain.


title: Chinese ceramics

text: Foreign trade was not always beneficial for potters because the further away that products had to go from the source (Ex: Jingdezhen) the more vulnerable cargo became. In examining a report of a Spanish voyage, about a fifth of a Chinese ship crew were killed when met by a Spanish voyager of the name Juan de Salcedo. The two ships that were raided held many Chinese valuables including porcelain and most likely were used to trade off the coast of Midoro. Overall, international markets offered great potential for potters seeking greater wealth but unfortunately came with a vulnerability to crime.


title: Chinese ceramics

text: Trade on an international scale required organization between chiefs and potters. Throughout the Southeast Asian trading ports, chiefs had the power to set port fees as well as control interactions between elite merchants and foreign traders. By possessing the license to impose fees, chiefs were able to profit on almost every transaction within their respective markets and it serves to boost their brilliance in constructing such a diverse market. Potters of luxury porcelain would have to work under the rules set by the chiefs and thus their relationship constructed a hierarchy.


title: Chinese ceramics

text: Chinese potters have a long tradition of borrowing design and decorative features from earlier wares. Whilst ceramics with features thus borrowed might sometimes pose problems of provenance, they would not generally be regarded as either reproductions or fakes. However, fakes and reproductions have also been made at many times during the long history of Chinese ceramics and continue to be made today in ever-increasing numbers.


title: Chinese ceramics

text: In addition, the reign marks of earlier emperors (typically from the Ming) were often put on Qing wares, which scholars are often inclined to treat as a mark of respect or aspiration rather than an attempt to deceive, although they clearly did often mislead contemporaries, and confuse understanding.


title: Chinese ceramics

text: The most widely known test is the thermoluminescence test, or TL test, which is used on some types of ceramic to estimate, roughly, the date of last firing. Thermoluminescence dating is carried out on small samples of pottery drilled or cut from the body of a piece, which can be risky and disfiguring. For this reason, the test is rarely used for dating finely potted, high-fired ceramics. TL testing cannot be used at all on some types of ceramics, particularly high-fired porcelain.


title: Holy Spider

text: Holy Spider is a 2022 internationally co-produced Persian-language crime thriller film directed by Ali Abbasi. Based on the true story of Saeed Hanaei, a serial killer who targeted sex workers and killed 16 women from 2000 to 2001 in Mashhad, Iran, the film depicts a fictional female journalist investigating a serial killer.


title: Holy Spider

text: It was selected to compete for the Palme d'Or at the 2022 Cannes Film Festival, where it premiered on 22 May 2022. Zar Amir Ebrahimi won the festival's Best Actress Award. The film was selected as the Danish entry for Best International Feature Film at the 95th Academy Awards.


title: Holy Spider

text: Abbasi was a student in Tehran when the 2000–01 murders took place and was baffled by the conservative response that heralded Hanaei as a hero, and by how long it took for police to capture him. Abbasi began writing versions of the film shortly after seeing Hanaei interviewed in Maziar Bahari's 2002 documentary . Abbasi said, "In a really strange way, I felt sympathy for the guy, really against my own will. I think there was a psychotic element to the pleasure-seeking aspect of his murders, the twisted sexuality and whatnot, but there was also this strange innocence about him. It was more about how a society creates a serial killer." Initial drafts followed the events more faithfully, but Abbasi eventually deviated from them and invented the character of a female journalist, as he felt the film should focus not only on the killer but on misogyny. Abbasi said:


title: Holy Spider

text: My intention was not to make a serial killer movie. I wanted to make a movie about a serial killer society. It is about the deep-rooted misogyny within Iranian society, which is not specifically religious or political but cultural. ... Instead of making another movie about different ways a man can kill and mutilate women, we want to underline the complexity of the issue and the stakes on different sides, especially on behalf of the victims.


title: Holy Spider

text: The character Rahimi was based on a female journalist who was featured in Maziar Bahari's documentary discussing the case on camera and interviewing Hanaei. Although she was from Mashhad, she didn't investigate the crimes, but she covered the trials and wrote a piece on Hanaei's execution that inspired Abbasi. She wrote that his last words were "this was not our deal," suggesting there was some kind of deal with the authorities.


title: Holy Spider

text: The film is a co-production between Germany's One Two Films, Denmark's Profile Pictures, Sweden's Nordisk Film Production, and France's Why Not Productions, and Wild Bunch International. The production is 41.36% German, 31.05% Danish, 15.3% French, and 12.29% Swedish.


title: Holy Spider

text: The development of the film officially started in 2016, which was then boosted by the success of Abbasi's 2018 "Border". The filmmakers initially tried to shoot in Iran, but this was abandoned by 2019. A plan was made to shoot in Jordan in early 2020, which had to be pushed back several times because of the COVID-19 pandemic. Then, in late 2020, they decided to move the production to Turkey, where COVID restrictions were looser, but they were stalled by Turkish authorities. Abbasi has said this was because the Iranian government interfered. The production then went back to Jordan, where filming finally commenced in May 2021 and lasted 35 days.


title: Holy Spider

text: Abbasi said Bajestani was taking an enormous risk by playing the killer. Amir Ebrahimi was initially involved in the film only as a casting director, but was cast as the journalist after an actor dropped out of the role.


title: Holy Spider

text: In May 2022, Utopia acquired North American rights to the film. Mubi acquired the film for the United Kingdom, Ireland, Latin America, and Malaysia.


title: Holy Spider

text: The film premiered at the 2022 Cannes Film Festival on 22 May 2022, where it received a seven-minute standing ovation at the end of its screening. It was released theatrically in France by Metropolitan Filmexport on 13 July 2022, and in Denmark by Camera Film on 13 October 2022. It will be released in Germany by Alamode Film on 12 January 2023.


title: Holy Spider

text: On 29 May 2022, the Cinema Organization of Iran's Ministry of Culture and Islamic Guidance issued a statement condemning the Cannes festival for awarding the film the Best Actress award, calling it "an insulting and politically-motivated move". The statement compared the film to "The Satanic Verses" and said it "has insulted the beliefs of millions of Muslims and the huge Shiite population of the world".


title: Holy Spider

text: On 1 June 2022, Minister of Culture and Islamic Guidance Mohammad Mehdi Esmaili said Iran "formally protested to the French government through the foreign ministry". He also said, "If persons from inside Iran are involved with the film "Holy Spider", they will surely receive punishment from the Cinema Organization of Iran."


title: Holy Spider

text: Amir Ebrahimi told "CNN" on 3 June 2022 that she had received around 200 threats since winning the Best Actress award at the Cannes Film Festival. "The problem is that they didn't even watch this movie, and they are judging this movie, just from a trailer," she said, attributing the reaction to the lack of freedom of expression in Iran.


title: Holy Spider

text: Ebrahim Irajzad, the director of "Killer Spider", a 2020 Iranian film based on the same subject, accused Abbasi of plagiarism and circumventing Iranian censorship in order to make the film sooner, claiming he could have shot it in Iran had he been prepared to wait for government approval like Irajzad had to.


title: Studio

text: A studio is an artist or worker's workroom. This can be for the purpose of acting, architecture, painting, pottery (ceramics), sculpture, origami, woodworking, scrapbooking, photography, graphic design, filmmaking, animation, industrial design, radio or television production broadcasting or the making of music. The term is also used for the workroom of dancers, often specified to dance studio.


title: Studio

text: The French term for studio, "atelier", in addition to designating an artist's studio is used to characterize the studio of a fashion designer.


title: Studio

text: The studio of any artist, especially from the 15th to the 19th centuries, characterized all the assistants, thus the designation of paintings as "from the workshop of..." or "studio of..."


title: Studio

text: An art studio is sometimes called an atelier, especially in earlier eras. In contemporary, English language use, "atelier" can also refer to the Atelier Method, a training method for artists that usually takes place in a professional artist's studio.


title: Studio

text: The above-mentioned "method" calls upon that zeal for study to play a significant role in the production which occurs in a studio space. A studio is more or less artful to the degree that the artist who occupies it is committed to the continuing education in his or her formal discipline. Academic curricula categorize studio classes in order to prepare students for the rigors of building sets of skills which require a continuity of practice in order to achieve growth and mastery of their artistic expression. A versatile and creative mind will embrace the opportunity of such practice to innovate and experiment, which develops uniquely individual qualities of each artist's expression. Thus the method raises and maintains an art studio space above the level of a mere production facility or workshop.


title: Studio

text: Safety is or may be a concern in studios, with some painting materials required to be handled, stored, or used properly to prevent poisoning, chemical burns, or fire.


title: Studio

text: In educational studios, students learn to develop skills related to design, ranging from architecture to product design. In specific, educational studios are studio settings where large numbers of students learn to draft and design with instructional help at a college. Educational studios are colloquially referred to as "studio" by students, who are krypl for staying up late hours into the night doing projects and socializing.


title: Studio

text: Studio pottery is made by an individual potter working on his own in his studio, rather than in a ceramics factory (although there may be a design studio within a larger manufacturing site).


title: Studio

text: Production studios are those studios which act as centres for the production in any of the arts; alternatively they can also be the financial and commercial entity behind such endeavours. In radio and television production studio is the place where programs and radio commercial and television advertising are recorded for further emission.


title: Studio

text: Animation studios, like movie studios, may be production facilities, or financial entities. In some cases, especially in anime, they continue the tradition of a studio where a master or group of talented individuals oversee the work of lesser artists and crafts persons in realising their vision. Animation studios are a fast rising entity and they include established firms such as Walt Disney and Pixar.


title: Studio

text: Artists or writers, predominantly those producing comics, still employ small studios of staff to assist in the creation of a comic strip, comic book or graphic novel. In the early days of Dan Dare, Frank Hampson employed a number of staff at his studio to help with the production of the strip. Eddie Campbell is another creator who has assembled a small studio of colleagues to help him in his art, and the comic book industry of the United States has based its production methods upon the studio system employed at its beginnings.


title: Studio

text: Another type of studio, common for instance in Spain, would produce work for-hire on license, with prospective buyers bringing in their own franchises for artwork and occasionally new stories.


title: Studio

text: Many universities are creating studio settings for courses outside the artist's realm. There are several different projects along these lines, most notably the SCALE-UP (Student-Centered Active Learning Environment for Undergraduate Programs) initiated at NC State.


title: Studio

text: In audio, a mastering studio is a facility specialised in audio mastering. Tasks may include but not be limited to audio restoration, corrective and tone-shaping EQ, dynamic control, stereo or 5.1 surround editing, vinyl and tape transfers, vinyl cutting, and CD compilation. Depending on the quality of the original mix, the mastering engineer's role can change from small corrections to improving the overall sound of a mix drastically. Typically studios contain a combination of high-end analogue equipment with low-noise circuitry and digital hardware and plug-ins. Some may contain tape machines and disc cutting lathes. They may also contain full-range monitoring systems and be acoustically tuned to provide an accurate reproduction of the sound information contained in the original medium. The mastering engineer must prepare the file for its intended destination, which may be radio, CD, vinyl or digital distribution.


title: Studio

text: In video production, a mastering studio is a facility specialized in the post-production of video recordings. Tasks may include but not be limited to: video editing, colour grading correction, mixing, DVD authoring and audio mastering. The mastering engineer must prepare the file for its intended destination, which may be broadcast, DVD or digital distribution.


title: Studio

text: An "acting studio" is an institution or workspace (similar to a dance studio) in which actors rehearse and refine their craft. The Neighborhood Playhouse and Actors Studio are legendary acting studios in New York.


title: Studio

text: A movie studio is a company which develops, equips and maintains a controlled environment for filmmaking. This environment may be interior (sound stage), exterior (backlot) or both.


title: Studio

text: A photographic studio is both a workspace and a corporate body. As a workspace it provides space to take, develop, print and duplicate photographs.


title: Studio

text: A radio studio is a room in which a radio program or show is produced, either for live broadcast or for recording for a later broadcast. The room is soundproofed to avoid unwanted noise being mixed into the broadcast.


title: Studio

text: A recording studio is a facility for sound recording which generally consists of at least two rooms: the studio or live room, and the control room, where the sound from the studio is recorded and manipulated. They are designed so that they have good acoustics and so that there is good isolation between the rooms.


title: Studio

text: A television studio is an installation in which television or video productions take place, for live television, for recording video tape, or for the acquisition of raw footage for post-production. The design of a studio is similar to, and derived from, movie studios, with a few amendments for the special requirements of television production. A professional television studio generally has several rooms, which are kept separate for noise and practicality reasons.


title: Studio

text: Many of the healing arts and activities such as yoga, judo, karate are "studied" in a studio. It is very common to see yoga studios and martial arts studios established in settings that might previously have been for other uses, described as studios. These are not really recreation centers, or gyms in the traditional sense, but places where students of these activities practice or study their art.


title: Uttara Kannada

text: Uttara Kannada is a district in the Indian state of Karnataka. Uttara Kannada District is a major coastal district of Karnataka, with the largest coastal district. It is bordered by the state of Goa and Belagavi District to the north, Dharwad District and Haveri District to the east, Shivamogga District, and Udupi District to the south, and the Arabian Sea to the west.


title: Uttara Kannada

text: Karwar is the district headquarters while Kumta & Sirsi act as the other major commercial centers in the district.


title: Uttara Kannada

text: The district's agroclimatic divisions include the coastal plain (consisting of Karwar, Ankola, Kumta, Honnavar and Bhatkal taluks) and Malenadu (consisting of Sirsi, Siddapur, Yellapur, Haliyal, Joida, and Mundgod taluks).


title: Uttara Kannada

text: The first known dynasty from Uttar Kannada District are Chutus of Banavasi. Uttara Kannada was the home of the Kadamba kingdom from the 350 to 525. They ruled from Banavasi. After the subjugation of the Kadambas by the Chalukyas, the district came under successive rule of empires like Chalukyas, Rashtrakutas, Hoysalas and Vijayanagar empire. Moroccan traveler Ibn Battuta is said to have stayed for a time in the district under the protection of Nawayath Sultan Jamal Al-Din at Hunnur. This place is presently known as Hosapattana and is located in the town of Honnavar. Ruins of an old mosque and its minaret can still be seen in the village. The district came under the rule of Maratha Empire in the 1750s and later part of Mysore Kingdom, who ceded it to the British at the conclusion of the Fourth Mysore War in 1799. It was initially part of Kanara district in Madras Presidency. The district was divided to North and South Kanara districts in 1859. The British finally transferred Uttara Kannada district to Bombay Presidency in 1862.


title: Uttara Kannada

text: After India's independence in 1947, Bombay Presidency was reconstituted as Bombay State. In 1956, the southern portion of Bombay State was added to Mysore State, which was renamed Karnataka in 1972.


title: Uttara Kannada

text: Significant and picturesque, the Sadashivgad fort of historical importance is now a tourist destination located by the Kali river bridge, which has been built at the confluence of the river and the Arabian Sea. The renowned Bengali poet and Nobel laureate Rabindranath Tagore, who visited Uttara Kannada in 1882, dedicated an entire chapter of his memoirs to this town. The 22-year-old Rabindranath Tagore stayed with his brother, Satyendranath Tagore, who was the district judge in Uttara Kannada. There is a substantial amount of Chardo families in this area as they had migrated due to the persecution of the Portuguese in Goa.


title: Uttara Kannada

text: Cintacora, also known as Chittakula, and Sindpur, were Portuguese and Chittakula was known to them as a very old port. When the fort of Sadashivgad was built in this area, the village also came to be known by that name. Pir fort, named for the Dargah of Shah Karamuddin, was captured and burnt by the Portuguese in 1510. The creek at the mouth of the Kali River was a trading center which came into great prominence after Sadashivgad was built and the Portuguese realized the advantages of its sheltered harbour.


title: Uttara Kannada

text: In 1638, a rival English trading body, the Courteen Association, established a factory at Uttara Kannada (actually the village named Kadwad, situated eastwards on the banks of the Kali river). It was a trade port frequented by traders from Arabia and Africa. Baitkhol port (the current civil port of Uttara Kannada) was known for its natural harbour. The name Baithkhol is Arabic term, Bait-e-kol, meaning bay of safety. Muslin was the chief commodity purchased but Uttara Kannada was also a source for pepper, cardamom, cassia and coarse blue cotton cloth. Situated on India's west coast, 50 miles south-east of Goa, Uttara Kannada was noted for its safe harbour. In 1649, the Courteen Association united with the British East India Company and Uttara Kannada became a company factory.


title: Uttara Kannada

text: In the Treaty of Mangalore signed in 1784, between Tipu Sultan and the East India Company, one finds reference to Uttara Kannada and Sadashivgad written as Karwar and Sadasewgude respectively.


title: Uttara Kannada

text: The British made Carwar the district headquarters of North Canara in 1862. Since 1862, the time from which it came under Bombay presidency, Uttara Kannada was described as a first rate harbour between Bombay and Colombo.


title: Uttara Kannada

text: The main geographic feature of the district is the Western Ghats or Sahyadri range, which runs from north to south through the district. Between the Sahyadris and the sea is a narrow coastal strip, known as the Payanghat, which varies from in width. Behind the coastal plain are flat-topped hills from 60 to 100 meters in height, and behind the hills are the ridges and peaks of the Sahyadris. East of the Sahyadris is the Balaghat upland, part of the vast Deccan plateau. Moisture-bearing winds come from the west, and yearly rainfall averages on the coast, and as high as on the west-facing slopes of the Sahyadris. East of the crest is the rain shadow of the Sahyadris, which receive as little as annually. Much of the rain falls in the June–September monsoon. Four major rivers drain westwards from the crest of the Sahyadris to the sea; from north to south, they are the Kali, Gangawali, Aghanashini, Sharavati. These rivers form numerous waterfalls, The river Aghanashini drops 116 meters, Magod Falls, where the Bedti river plunges 180 meters in two leaps, Shivganga falls, where the river Sonda (Shalmali) drops 74 meters, and Lalguli falls and Mailmane falls on the river Kali. In the lowlands, these rivers form wide estuaries, extending several kilometers inland from the coast.


title: Uttara Kannada

text: The district's high rainfall supports lush forests, which cover approximately 70% of the district. The Malabar Coast moist forests ecoregion lies in a narrow strip between the Arabian Sea and the foothills of the Western Ghats up to 250 meters elevation. These forests have been almost completely converted to agriculture and teak plantations. The North Western Ghats moist deciduous forests cover the Sahyadris from 250 to 1000 meters elevation. Many trees shed leaves in the drier months. Above 1000 meters elevation lie the evergreen North Western Ghats montane rain forests. Anshi National Park near Dandeli, preserves approximately of semi-evergreen forest, which is home to the tiger, black panther, leopard cat, gaur, Asian elephant, sambar and a range of birds and reptiles. Dandeli Wildlife Sanctuary protects of semi-evergreen and bamboo forest in the watershed of the Kali river and its tributaries, the Kaneri and Nagajhari. Wroughton's free-tailed bat ("Otomops wroughtoni") is endemic to the forests of Bhimgad Wildlife Sanctuary.


title: Uttara Kannada

text: The district is also home to patches of savanna and degraded scrub jungles, which are often the result of overuse for logging or grazing. Much of the lowland has been cleared for agriculture. Mangrove forests can be found in the river estuaries, and the sandy beaches are home to groves of "Calophyllum inophyllum", coconut and screw pine ("Pandanus"). The rocky beaches at Binaga, Arga, Belekeri, Tadadi, Gokarna, Ankola, Kumta, Dhareshwar, Kasarkod, Murdeshwara, Bhatkal and Belke of the district are rich with marine fauna diversity. The beaches at Bhatkal include American Jali Beach, Bahrain Jali Beach, NaStar Beach, Nakhuda Beach, Lighthouse Beach and the rocky Udmudey Beach. The rocky beaches of Uttara Kannada District harbor the invertebrates belonging to the phyla Porifera, Coelenterata, Annelida, Arthropoda, Mollusca and Echinodermata.


title: Uttara Kannada

text: Dandeli Wildlife Sanctuary is famous for the elusive black panther among other animals like gaur, tiger and leopards.


title: Uttara Kannada

text: The Kavala caves with their . High natural Shiva linga, Synthery rocks is a high rock flanked by natural caves and waterfalls, Vincholi rapids, Sykes point which offers a view of Kali river, and a suspension bridge are places worth visiting in this sanctuary. Yana is an enchanting place that can be reached by trekking about through lush forest. There is also a shrine of Bhairaveshvara here.


title: Uttara Kannada

text: Anshi National Park located some distance from Dandeli is undisturbed. Burude Falls is about from Siddapur, Unchalli Falls, Shivagangae, BeeneHolae Fall is about from Sirsi, Magod Falls and Sathodi Falls near Yellapura are some of the best natural falls in Uttara Kannada District. There are many dams in this district namely Supa Dam, Kodasalli Dam and Kadra Dam. The atomic energy station at Kaiga is on the banks of Kali River (Karnataka).


title: Uttara Kannada

text: Uttara Kannada has a Gross Domestic District Product of 530297 Lakh Crores with Karwar and Sirsi being major contributors.sirsi has the highest per capita income in the district at 54850 followed by karwar at 44326, while Bhatkal and Haliyal have the lowest.


title: Uttara Kannada

text: The chief crops of the district are rice and areca nut, along with a great diversity of other crops. Tree crops include coconut, sugarcane, cocoa, cashew, mango, banana, pineapple, garcinia, jack fruit, and sapota; vegetables include onion, radish, cucumber, cauliflower, sweet potato, eggplant (brinjal), and amaranth; spices include pepper, cardamom, ginger and nutmeg. Millet and cotton are grown in the drier portion of the district east of the Western Ghats.


title: Uttara Kannada

text: According to the 2011 census, Uttara Kannada has a population of 1,437,169, roughly equal to the nation of Eswatini or the US state of Hawaii. This gives it a ranking of 346th in India (out of a total of 640).


title: Uttara Kannada

text: The district has a population density of . Its population growth rate over the decade 2001–2011 was 6.15%. Uttara Kannada has a sex ratio of 975 females for every 1000 males. Scheduled Castes and Scheduled Tribes make up 8.10% and 2.39% of the population respectively.


title: Uttara Kannada

text: The population is predominantly Hindu, although a Catholic community has existed here since the 1500s. Muslims are a sizeable minority in Bhatkal Taluk and are majority in Bhatkal City. A small community of Tibetan refugees lives in Mundgod.


title: Uttara Kannada

text: The main language spoken in this district is Kannada, spoken by 55.34%. Other major languages include Konkani at 18.21%, 11.83% Urdu, 9.52% Marathi and 1.36% Telugu. Marathi speakers are mostly located in Joida and Haliyal taluks in the north and Konkani is in majority in Karwar taluk, although it is spoken throughout the district in lesser numbers. Nawayathi is a Konkani dialect spoken by Nawayath Muslims in Bhatkal and surrounding areas.


title: Uttara Kannada

text: Total about 10.8 lakh people in the district are literate, among them about 5.8 lakh are male and about 5 lakh are female. Literacy rate (children under 6 are excluded) of Uttara Kannada is 84%. 90% of male and 78% of female population are literate here. Overall literacy rate in the district has increased by 7%. Male literacy has gone up by 5% and female literacy rate has gone up by 10%.


title: Uttara Kannada

text: Yakshagana is a classical dance drama popular in the state of Karnataka in India mostly popular in the districts of Uttara Kannada. Shimoga, Udupi, Dakshina Kannada and Kasaragod district of Kerala. This theater art involves music, songs, dance, acting, dialogue, story and unique costumes. While songs and dance adhere to well established talas very similar to Indian classical dance forms, acting and dialogues are created spontaneously on stage depending on ability of artists. This combination of classical and folk elements makes yakshagana unique from any other Indian art. This would be considered to be a form of opera in western eyes. Traditionally, yakshaganas use to start late in the night and run entire night. Bagavatha, the background singer is also the directory of the story and controls the entire proceedings on stage. Bagavatha along with background musicians who play chande and maddale forms himmela. The actors who wear colorful costumes and enact various roles in the story forms mummela. There are many professional troops in Karnataka. In spite of competition from modern movie industry and TV, these troops are arranging ticketed shows and making profit. Apart from this individuals arrange shows in their village inviting well known professional artists like Sri Chittani Ramachandra Hegde, Kondadakuli Ramachandra Hegde, Gopal Achari Theerthahalli and Ramesh Bhandari Murur, providing an opportunity for local talents to act with legends. Yakshagana is sometimes simply called as aataā in both Kannada and Khela (Karwari Konkani) Konkani (meaning play). Yaksha-gana literally means the song (gana) of a yaksha. Yakshas were an exotic tribe mentioned in the Sanskrit literature of ancient India. The Nawayath men wears lungis unique to them.


title: Uttara Kannada

text: The literary field is represented by Karki Venkataramanasastri Suri, GR Pandeshwar, Gaurisha Kaikini, Yashwant Chittala, B.H. Sridhara, Shantinath Desai, Surankamundi, Arvind Nadakarni, CP Gangawkar, Krishnananda Kamath, PC Bhatt, Sundara Nadakarni, VG Bhatta, Dinakara Desai, VG Shahnag, Sham.. Krishna Raya, Gangadhar Chitta, GG Hegde, GS Bhatta, Jayantha Kaikini, Niranjana Vanalli, Rajeeva Ajjibala, Vishnu Naik, Shantaram Nayak Hichakada, Ramakrishna Gundi have been enriched. Many new poets and authors are promising. Newspapers in this district include Havayaka Subodha (1885), Karvara Chandrika (1885), Children's Newspaper Hitopadesh (1888), Saraswati (1900) and Vinodini (1904). First published in 1919 by Kumata from Kanada Dhurina (1922) and Nandini (1925) by Gokarna. Surrender Message (1931), Navachethana (1941), Device (1949) were published from Honnavar. Malayawani (1955) Annual Newspaper. In 1956, Bhama Masa was published by Shirazi. In 1957, Sirisena was...


title: Uttara Kannada

text: Uttara Kannada is famous for a variety of seafood delicacies. Fish curry and rice is the staple diet of the locals. Cashews and coconut are also extensively used.


title: Uttara Kannada

text: The staple diet includes a portion of steamed rice with a vegetable and/or seafood accompaniment. Seafood is immensely popular due to its ease of availability, and is prepared with a lot of local spices. Tea is the most popular beverage and is sometimes supplemented with cardamom or mint to give a distinct flavour.


title: Uttara Kannada

text: North West Karnataka Transport Corporation (NWKRTC) is the state transport agency in the district. The NWKRTC covers all towns & villages of the district. There is a good network of public transport which connects the villages to the towns of the district. There are regular intra state services to major cities & towns of the state like Bangalore, Mangalore, Shimoga, Mysore, Hubli-Dharwad & Belgaum. The Kadama Transport buses of neighboring Goa state provides regular service from Karwar to Mangalore and all part of Goa state. Kumta, Bhatkal and Sirsi are the main hubs for public transport which provides services to intra-district & intrastate round the clock.


title: Uttara Kannada

text: Many private transport buses also provide services for inter / intra state from the district. Bhatkal is the main sector for private transport in the district. The NH-66 which passes through the district which connects Panvel near Mumbai to Kerala state, many private buses are plying on this Highway which provides inter-intra state services to places like Bombay, Poona, Kolhapore, Belgaum, Panaji, Margao, Udupi, Mangalore, Bangalore, Mysore, Bhatkal, Kasaragod, Cannanore, Calicut etc.


title: Uttara Kannada

text: Uttara Kannada being one of the coastal district of the Karnataka state has a coast of has many ports which are used for sea trade, naval base, fishing and other maritime activities.


title: Uttara Kannada

text: The Proposed Hubli-Ankola railway line can be feasible venture for the future developments of the ports in the district, for movement of the cargo, at present roads are only major mode of cargo movement which leads to congestion of the National Highways of the district.


title: Uttara Kannada

text: Uttara Kannada (North Kanara) has many tourist places which cater to different likes of the people. There are many religious places like Gokarna, Murudeshwar, Idagunji and Ulavi. The district (Jilla) has many beaches at Karwar, Gokarna, Bhavikeri near Ankola, Murdeshwar, Harawada, Kadle beach near Kumta, Handigon. Anshi National Park (Kali Tiger Reserve) is located in Uttara Kannada Jille. The backwaters of dams built across river Kali at Kadra, Thattihalla, Kodasalli, Supa and Bommanahalli provide splendid views in rainy season. There are many waterfalls in Uttar Kannada district Sathodi, Devkar, Emme shirle, Arebail, Benne Hole, U nchalli, Burude, Balepatte to name a few.


title: Quilting

text: Quilting is the term given to the process of joining a minimum of three layers of fabric together either through stitching manually using a needle and thread, or mechanically with a sewing machine or specialised longarm quilting system. An array of stitches is passed through all layers of the fabric to create a three dimensional padded surface. The three layers are typically referred to as the top fabric or quilt top, batting or insulating material and the backing.


title: Quilting

text: Quilting varies from a purely functional fabric joinery technique to highly elaborate, decorative three dimensional surface treatments. A wide variety of textile products are traditionally associated with quilting that includes bed coverings, soft home furnishings, garments and costumes, wall hangings, artistic objects and cultural artefacts.


title: Quilting

text: A wide range of effects can be employed by the quilter that contribute to the final surface quality and utility of the quilted material. The quilter controls these effects through the manipulation of elements such as material type and thickness, stitch length and style, pattern design, piecing and cutting. Two dimensional effects such as optical illusions can be achieved through aesthetic choices regarding colour, texture and print. Three dimensional and sculptural components of quilted material can be manipulated and enhanced with further embellishment which may include appliqué, embroidery techniques such as shisha mirror work, and the inclusion of other objects or elements such as pearls, beads, buttons, sequins. Some quilters dye or create their own fabrics. In contemporary artistic quilting, new and experimental materials such as plastics, paper, naturally occurring fibres and plants amongst a diverse array of other materials have been used.


title: Quilting

text: Quilting can be considered one of the first examples of upcycling, as it has historically made extensive use of remnants and offcuts for the creation of new products.


title: Quilting

text: The origin of the term 'quilt' is linked to the Latin word "culcita", meaning a bolster or cushion. Usage of the term seems to have first been used in England in the 13th century. However the sewing techniques of piecing, appliqué, and quilting have been used for clothing and furnishings in diverse parts of the world for several millennia and a wide range of quilting styles and techniques have uniquely evolved around the globe.


title: Quilting

text: The earliest known quilted garment is depicted on the carved ivory figure of a Pharaoh dating from the ancient Egyptian First Dynasty (). In 1924 archaeologists discovered a quilted floor covering in Mongolia, estimated to date between 100 BC and 200 AD.


title: Quilting

text: In Europe, quilting has been part of the needlework tradition from about the fifth century, with early objects containing Egyptian cotton, which may indicate that Egyptian and Mediterranean trade provided a conduit for the technique. However, quilted objects were relatively rare in Europe until approximately the twelfth century, when quilted bedding and other items appeared after the return of the Crusaders from the Middle East. The medieval quilted gambeson, aketon and arming doublet were garments worn under or instead of armor of maille or plate armor. These developed into the later quilted doublet worn as part of fashionable European male clothing from the fourteenth to seventeenth century. The earliest known surviving European bed quilt is from late-fourteenth-century Sicily: the Tristan quilt made of linen and padded with wool. The blocks across the center are scenes from the legend of Tristan. The quilt is and is in the Victoria and Albert Museum in London.


title: Quilting

text: The word "quilt" comes from the Latin "culcita" meaning a stuffed sack, but it came into the English language from the French word "cuilte".


title: Quilting

text: In American Colonial times, quilts were predominantly whole-cloth quilts—a single piece of fabric layered with batting and backing held together with fine needlework quilting. Broderie perse quilts were popular during this time and the majority of pierced or appliqued quilts made during the 1770–1800 period were medallion-style quilts (quilts with a central ornamental panel and one or more borders). Patchwork quilting in America dates to the 1770s, the decade the United States gained its independence from England. These late-eighteenth- and nineteenth-century patchwork quilts often mixed wool, silk, linen, and cotton in the same piece, as well as mixing large-scale (often chintz) and small-scale (often calico) patterns. Some antique quilts made in North America have worn-out blankets or older quilts as the internal batting layer, quilted between new layers of fabric and thereby extending the usefulness of old material.


title: Quilting

text: During American pioneer days, foundation piecing became popular. Paper was cut into shapes and used as a pattern; each individual piece of cut fabric was basted around the paper pattern. Paper was a scarce commodity in the early American west so women would save letters from home, postcards, newspaper clippings, and catalogs to use as patterns. The paper not only served as a pattern but as an insulator. The paper found between the old quilts has become a primary source of information about pioneer life.


title: Quilting

text: Quilts made without any insulation or batting were referred to as summer quilts. They were not made for warmth, only to keep the chill off during cooler summer evenings.


title: Quilting

text: There is a long tradition of African-American quilting beginning with quilts made by enslaved Africans, both for themselves and for the people who enslaved them. The style of these quilts was determined largely by time period and region, rather than race, and the documented slave-made quilts generally resemble those made by white women in their region. After 1865 and the end of slavery in the United States, African-Americans began to develop their own distinctive style of quilting.


title: Quilting

text: Harriet Powers, an African American woman born into slavery, made two famous "story quilts" and was one of the many African-American quilters who contributed to the development of quilting in the United States. This style of African-American quilts was categorized by its bright colors, organization in a strip arrangement, and asymmetrical patterns.


title: Quilting

text: The first nationwide recognition of African-American quilt-making came when the Gee's Bend quilting community of Alabama was celebrated in an exhibition that opened in 2002 and traveled to many museums, including the Smithsonian. Gee's Bend is a small, isolated community of African-Americans in southern Alabama with a quilt-making tradition that goes back several generations and is characterized by pattern improvisation, multiple patterning, bright and contrasting colors, visual motion, and a lack of rules. The contributions made by Harriet Powers and other quilters of Gee's Bend, Alabama have been recognized by the US Postal Service with a series of stamps. The "communal" nature of the quilting process (and how it can bring together women of varied races and backgrounds) was honored in the series of stamps. Themes of community and storytelling are common themes in African-American quilts.


title: Quilting

text: Beginning with the children's story "Sweet Clara and the Freedom Quilt" (1989), a legend has developed that enslaved people used quilts as a means to share and transmit secret messages to escape slavery and travel the Underground Railroad. Consensus among historians is that there is no sound basis for this belief, and no documented mention among the thousands of slave narratives or other contemporary records.


title: Quilting

text: Contemporary quilters such as Faith Ringgold utilize quilt making to tell stories and make political statements about the African-American experience. Ringgold, originally a painter, began quilting in order to stray away from Western art practices. Her famous "story quilts" utilize mixed media, painting, and quilting. One of her most famous quilts, "Tar Beach 2" (1990), depicts the story of a young African-American girl flying around Harlem in New York City.


title: Quilting

text: Another American group to develop a distinct style of quilting were the Amish. Typically, these quilts use only solid fabrics, are pieced from geometric shapes, do not contain appliqué, and construction is simple (corners are butted, rather than mitered, for instance) and done entirely by hand. Amish quilters also tend to use simple patterns: Lancaster County Amish are known for their Diamond-in-a-Square and Bars patterns, while other communities use patterns such as Brick, Streak of Lightning, Chinese Coins, and Log Cabins, and midwestern communities are known for their repeating block patterns. Borders and color choice also vary by community. For example, Lancaster quilts feature wide borders with lavish quilting, while Midwestern quilts feature narrower borders to balance the fancier piecing.


title: Quilting

text: Some Native Americans are thought to have learned quilting through observation of white settlers; others learned it from missionaries who taught quilting to Native American women along with other homemaking skills. Native American women quickly developed their own unique style, the Lone Star design (also called the Star of Bethlehem), a variation on Morning Star designs that had been featured on Native American clothing and other items for centuries. These quilts often featured floral appliqué framing the star design. Star quilts have become an important part of many Plains Indian ceremonies, replacing buffalo robes traditionally given away at births, marriages, tribal elections, and other ceremonies. Pictorial quilts, created with appliqué, were also common.


title: Quilting

text: Another distinctive style of Native American quilting is Seminole piecing, created by Seminoles living in the Florida Everglades. The style evolved out of a need for cloth (the closest town was often a week's journey away). Women would make strips of sewing the remnants of fabric rolls together, then sew these into larger pieces to make clothing. Eventually the style began to be used not just for clothing but for quilts as well. In 1900, with the introduction of sewing machines and readily available fabric in Seminole communities, the patterns became much more elaborate and the style continues to be in use today, both by Seminole women and by others who have copied and adapted their designs and techniques.


title: Quilting

text: "Hawaiian quilting was well established by the beginning of the twentieth century. Hawaiian women learned to quilt from the wives of missionaries from New England in the 1820s. Though they learned both pieced work and applique, by the 1870s they had adapted applique techniques to create a uniquely Hawaiian mode of expression. The classic Hawaiian quilt design is a large, bold, curvilinear appliqué pattern that covers much of the surface of the quilt, with the symmetrical design cut from only one piece of fabric."


title: Quilting

text: There are two primary forms of quilting that originate in South Asia: Nakshi Kantha and Ralli. Nakshi Kantha quilts originated in India and are typically made of scraps and worn-out fabric stitched together with old sari threads using kantha embroidery stitches. "The layers of cloth were spread on the ground, held in place with weights at the edges, and sewn together with rows of large basting stitches. The cloth was then folded and worked on whenever there was time." The first recorded kantha are more than 500 years old.


title: Quilting

text: Ralli quilts are traditionally made in Pakistan, western India, and the surrounding area. They are made by every sector of society including Hindu and Muslim women, women of different castes, and women from different towns or villages or tribes with the colors and designs varying among these groups. The name comes from "ralanna", a word meaning to mix or connect. Quilts tops were designed and pieced by one woman using scraps of hand-dyed cotton. This cotton often comes from old dresses or shawls. Once pieced, the quilt top is placed on a reed mat with the other layers and sewn together using thick, colored thread in straight parallel lines by members of the designer's family and community.


title: Quilting

text: Quilting in Japan, until the 20th century, generally covered local bast fibers with more valuable cotton cloth. The rectangular nature of Japanese cloth articles encouraged rectangle-based patterns. Sashiko stitching has now also developed purely decorative forms.


title: Quilting

text: Quilting originated in Sweden in the fifteenth century with heavily stitched and appliquéd quilts made for the very wealthy. These quilts, created from silk, wool, and felt, were intended to be both decorative and functional and were found in churches and in the homes of nobility. Imported cotton first appeared in Sweden in 1870, and began to appear in Swedish quilts soon after along with scraps of wool, silk, and linen. As the availability of cotton increased and its price went down, quilting became widespread among all classes of Swedish society. Wealthier quilters used wool batting while others used linen scraps, rags, or paper mixed with animal hair. In general, these quilts were simple and narrow, made by both men and women. The biggest influence on Swedish quilting in this time period is thought to have come from America as Swedish immigrants to the United States returned to their home country when conditions there improved.


title: Quilting

text: During the late 20th century, art quilts became popular for their aesthetic and artistic qualities rather than for functionality as they are displayed on a wall or table rather than being used on a bed.. "It is believed that decorative quilting came to Europe and Asia during the Crusades (A.D. 1100–1300), a likely idea because textile arts were more developed in China and India than in the West."


title: Quilting

text: American artist Judy Chicago stated in a 1981 interview that if not for sexism in the visual arts, the art world, and broader society, quilting would be regarded as a form of high art:


title: Quilting

text: In the early 21st century, modern quilting became a more prominent area of quilting. Modern quilting follows a distinct aesthetic style which draws on inspiration from modern style in architecture, art, and design using traditional quilt making techniques. Modern quilts are different from art quilts in that they are made to be used. Modern quilts are also influenced by the Quilters of Gee's Bend, Amish quilts, Nancy Crow, Denyse Schmidt, Gwen Marston, Yoshiko Jinzenji, Bill Kerr and Weeks Ringle.


title: Quilting

text: The Modern Quilt Guild has attempted to define modern quilting. The characteristics of a modern quilt may include: the use of bold colors and prints, high contrast and graphic areas of solid color, improvisational piecing, minimalism, expansive negative space, and alternate grid work.


title: Quilting

text: The Modern Quilt Guild, a non-profit corporation, with 14,000 members in more than 200 members guilds in 39 countries, fosters modern quilting via local guilds, workshops, webinars, and Quiltcon—an annual modern quilting conference and convention. The founding Modern Quilt Guild formed in October 2009 in Los Angeles.


title: Quilting

text: QuiltCon features a quilt show with 400+ quilts, quilt vendors, lectures, and quilting workshops and classes. The first QuiltCon was February 21–24, 2013 in Austin, TX. QuiltCon 2020 will be held in Austin, Texas, February 20–23, 2020 and will feature 400 juried modern quilts from quilters around the world.


title: Quilting

text: Unusual quilting designs have increasingly become popular as decorative textiles. As industrial sewing technology has become more precise and flexible, quilting using exotic fabrics and embroidery began to appear in home furnishings in the early 21st century.


title: Quilting

text: The quilt block is traditionally a sub-unit composed of several pieces of fabric sewn together. The quilt blocks are repeated, or sometimes alternated with plain blocks, to form the overall design of a quilt. Barbara Brackman has documented over 4000 different quilt block patterns from the early 1830s to the 1970s in the "Encyclopedia Of Pieced Quilt Patterns". Some of the simpler designs for quilt blocks include the Nine-Patch, Shoo Fly, Churn Dash, and the Prairie Queen.


title: Quilting

text: Most geometric quilt block designs fit into a "grid", which is the number of squares a pattern block is divided into. The five categories into which most square patterns fall are Four Patch, Nine Patch, Five-Patch, Seven-Patch, and Eight-Pointed Star. Each block can be subdivided into multiples: a Four-Patch can be constructed of 16 or 64 squares, for example.


title: Quilting

text: A simple Nine Patch is made by sewing five patterned or dark pieces (patches) to four light square pieces in alternating order. These nine sewn squares make one block.


title: Quilting

text: The Shoo Fly varies from this Nine Patch by dividing each of the four corner pieces into a light and dark triangle.


title: Quilting

text: Another variation develops when one square piece is divided into two equal rectangles in the basic Nine Patch design. The Churn Dash block combines the triangles and rectangle to expand the Nine Patch.


title: Quilting

text: The Prairie Queen block combines two large scale triangles in the corner section with the middle section using four squares. The center piece is one full size square. Each of the nine sections does have the same overall measurement and fits together.


title: Quilting

text: The number of patterns possible by subdividing Four-, Five-, Seven-, Nine-Patches and Eight-Pointed Stars and using triangles instead of squares in the small subdivisions is almost endless.


title: Quilting

text: Hand quilting is the process of using a needle and thread to sew a running stitch by hand across the entire area to be quilted. This binds the layers together. A quilting frame or hoop is often used to assist in holding the piece being quilted off the quilter's lap. A quilter can make one stitch at a time by first driving the needle through the fabric from the right side, then pushing it back up through the material from the wrong side to complete the stitch; this is called a stab stitch. Another option is called a rocking stitch, where the quilter has one hand, usually with a finger wearing a thimble, on top of the quilt, while the other hand is located beneath the piece to push the needle back up. A third option is called "loading the needle" and involves doing four or more stitches before pulling the needle through the cloth. Hand quilting is still practiced by the Amish and Mennonites within the United States and Canada, and is enjoying a resurgence worldwide.


title: Quilting

text: Machine quilting is the process of using a home sewing machine or a longarm machine to sew the layers together. With the home sewing machine, the layers are tacked together before quilting. This involves laying the top, batting, and backing out on a flat surface and either pinning (using large safety pins) or tacking the layers together. Longarm quilting involves placing the layers to be quilted on a special frame. The frame has bars on which the layers are rolled, keeping these together without the need for tacking or pinning. These frames are used with a professional sewing machine mounted on a platform. The platform rides along tracks so that the machine can be moved across the layers on the frame. A longarm machine is moved across the fabric. In contrast, the fabric is moved through a home sewing machine.


title: Quilting

text: Tying is another technique of fastening the three layers together. This is done primarily on quilts that are made to be used and are needed quickly. The process of tying the quilt is done with yarns or multiple strands of thread. Square knots are used to finish off the ties so that the quilt may be washed and used without fear of the knots coming undone. This technique is commonly called "tacking." In the Midwest, tacked bed covers are referred to as comforters.


title: Quilting

text: Quilting is now taught in some American schools. It is also taught at senior centers around the U.S., but quilters of all ages attend classes. These forms of workshops or classes are also available in other countries in guilds and community colleges.


title: Quilting

text: Contemporary quilters use a wide range of quilting designs and styles, from ancient and ethnic to post-modern futuristic patterns. There is no one single school or style that dominates the quilt-making world.


title: Quilting

text: Sewing machines can be used in the process of piecing together a quilt top. Some quilters also use a home sewing machine for quilting together the layers of the quilt, as well as binding the final product. While most home sewing machines can be used to quilt layers together, having a wide throat (the space to the right of the needle mechanism) is useful to manipulate a bulky quilt through the machine when the throat is both high and long.


title: Quilting

text: Fabric markers can be used to mark where cuts should be made in the fabric. Marks from specialist fabric marker wash out of fabrics.


title: Quilting

text: Quilting rulers are usually square or rectangular measuring instruments with length measurement and degree angle markings along multiple edges.


title: Quilting

text: Longarm quilting machines can be used to make larger quilts. Larger machines can be leveraged so that the quilter does not have to hold the fabric. Some specialist quilt shops offer longarm services.


title: Quilting

text: Machine quilting needles are very sharp in order to readily pierce layers of quilt and properly sew together the quilt top, batting and backing.


title: Quilting

text: Hand quilting needles are traditionally called "betweens" and are generally smaller and stronger than normal sewing needles. They have a very small eye which prevents any extra bump at the head of the needles when you are pulling through the thread.


title: Quilting

text: Specialist quilting threads come in many types, including different weights of thread and different materials. Cotton, polyester, and nylon threads are used in different forms of quilting.


title: Quilting

text: Rotary cutters revolutionized quilt-making when they appeared in the late 1970s. Rotary cutters simplify the process of cutting even slices of fabric.


title: Quilting

text: Basting spray is a temporary aerosol glue that can be used to spray the layers of a quilt together, so it stays in place whilst being sewn. It is a specially formulated glue that will not clog a sewing machine, and is a much quicker basting method than hand basting.


title: Quilting

text: Quilting templates/patterns come in many varieties and are generally considered the basis of the structure of the quilt, like a blueprint for a house.


title: Quilting

text: Bias binding or bias tape can be made from strips of quilt fabric or purchased as quilt binding. It is used in the last stage of making a quilt, and is a method of covering the edges of the quilt.


title: I Want You to Want Me

text: "I Want You to Want Me" is a song by the American rock band Cheap Trick. It is originally from their second album "In Color", released in September 1977. It was the first single released from that album, but it did not chart in the United States. Nineteen months later, a live version from the band's successful "Cheap Trick at Budokan" album was released as a single and became one of their biggest hits, peaking at number seven in the US, number two in Canada, and number one in Japan. It has since become Cheap Trick's signature song.


title: I Want You to Want Me

text: "I Want You to Want Me" was a number-one single in Japan. Its success in Japan, as well as the success of its preceding single "Clock Strikes Ten", paved the way for Cheap Trick's concerts at Nippon Budokan in Tokyo in April 1978 that were recorded for the group's most popular album, "Cheap Trick at Budokan". A live version of "I Want You to Want Me" from the album "Cheap Trick at Budokan" was released in 1979 and became their biggest selling single, reaching #7 on the "Billboard" Hot 100. It was certified Gold by the Recording Industry Association of America, representing sales of one million records. In Canada, it reached #2 in on the "RPM" national singles chart, remaining there for two weeks and was certified Gold for the sale of 500,000 singles in September 1979. It was also the band's highest charting single in Britain, where it reached #29.


title: I Want You to Want Me

text: Years later, Rick Nielsen and Tom Petersson criticized the lightweight production of "I Want You to Want Me" as it originally appeared on their second album, "In Color". Cheap Trick went as far as to mostly re-record that album in 1997, though this version hasn't been officially released. Producer Tom Werman explains:


title: I Want You to Want Me

text: "'I Want You To Want Me' was a fabulous dance hall type of song, and a perfect pop tune, and it was meant to be a little campy. I put the piano on—a guy named Jai Winding played it. I remember asking the band what they thought of it, and Rick Nielsen kind of shrugged and said, 'You're the producer.'" Further: "It was a burlesque song, like a 30s number. That is what they wrote it as."


title: I Want You to Want Me

text: The live version has a faster tempo than the album version, which contributed to its success. However, the album version features an echo at the verse "Didn't I, didn't I, didn't I see you cryin' (cryin)". This echo does not appear in the live version. The crowd, however, emulates the echo by chanting "cryin'". The studio version features guitar by Jay Graydon. The live version consists of two guitar solos, while the studio version has a piano fill as a second instrumental.


title: I Want You to Want Me

text: In early 1977, Cheap Trick recorded a version played in the style they played in concerts. It was played with dramatic vocals, high tempo and two guitar solos. It was later released in 1998 and is almost identical to the "alternate" version, with a slightly different song structure, that was released two years earlier in 1996, from "Sex, America, Cheap Trick".


title: I Want You to Want Me

text: In 1997, the band recorded another version as part of a complete remake of "In Color" with producer Steve Albini. This version generally follows the live arrangement as heard on "At Budokan".


title: I Want You to Want Me

text: 33 years after the Budokan version became Cheap Trick's first Top Ten hit, the band recorded a festive version of the song with the same arrangement, but with slightly modified lyrics, called "I Want You for Christmas", included on "", in 2012.


title: I Want You to Want Me

text: The single is backed with the non-album track "Oh Boy (Instrumental)", which was later re-worked with vocals and released on a promotional single.


title: I Want You to Want Me

text: "Cash Box" said that it's "a slick piece of pop-rock written by its goofy guitarist, Rick Nielsen" and "though the lyrics are terribly original [sic], it's a pleasant tune, impeccably produced by Tom Weman."


title: I Want You to Want Me

text: "Classic Rock" critic Malcolm Dome rated it as Cheap Trick's greatest song, saying that although Nielsen conceived it as "an overblown pop parody" it became "a true pop rock classic."


title: I Want You to Want Me

text: In the 2007 book "Shake Some Action: The Ultimate Power Pop Guide", a section on Cheap Trick featured reviews on the top 20 stand-out tracks from the band. One track included was "I Want You to Want Me", where author John M. Borack wrote "the "In Color" version lacked anything resembling balls, but that was remedied on the hit version from the groundbreaking "Cheap Trick at Budokan" disc. A piece of history and a darned cool tune, to boot." "Billboard Magazine" found the live version to be "high energy" with "an infectious melody and raspy guitar work."


title: I Want You to Want Me

text: Letters to Cleo recorded a version in 1999 for the "10 Things I Hate About You" soundtrack. It was released as a single but failed to chart.


title: Mycobacterium leprae

text: of the two species of bacteria that cause Hansen’s disease (leprosy), a chronic but curable infectious disease that damages the peripheral nerves and targets the skin, eyes, nose, and muscles.


title: Mycobacterium leprae

text: It is an acid-fast, Gram-positive, rod shaped bacterium and an obligate intracellular parasite, which means, unlike its relative "Mycobacterium tuberculosis", it cannot be grown in cell-free laboratory media. This is likely due to gene deletion and decay that the genome of the species has experienced via reductive evolution, which has caused the bacterium to depend heavily on its host for nutrients and metabolic intermediates. It has a narrow host range and apart from humans, the only other natural hosts are nine-banded armadillo and red squirrels.


title: Mycobacterium leprae

text: The bacteria infect mainly macrophages and Schwann cells, and are typically found congregated as a palisade.


title: Mycobacterium leprae

text: "Mycobacterium leprae" was sensitive to dapsone as a treatment alone, but since the 1960's, it has developed resistance against this antibiotic. Currently, a multidrug treatment (MDT) is recommended by the World Health Organization, including dapsone, rifampicin, and clofazimine. The species was discovered in 1873 by the Norwegian physician Gerhard Armauer Hansen, and was the first bacterium to be identified as a cause of disease in humans.


title: Mycobacterium leprae

text: "Mycobacterium leprae" is an intracellular, pleomorphic, non-sporing, non-motile, acid-fast, pathogenic bacterium. It is an aerobic bacillus (rod-shaped bacterium) with parallel sides and round ends, surrounded by the characteristic waxy coating of mycolic acid unique to mycobacteria. It is Gram-positive by Gram staining, but "Mycobacterium leprae" was traditionally stained with carbol fuchsin in the Ziehl–Neelsen stain. Because the bacilli are less acid-fast than "Mycobacterium tuberculosis" (MTB), the Fite-Faraco staining method, which has a lower acid concentration, is used now. In size and shape, it closely resembles MTB. The bacteria are found in the granulomatous lesions and are especially numerous in the nodules. This bacteria often occur in large numbers within the lesions of lepromatous leprosy and are usually grouped together as a palisade.


title: Mycobacterium leprae

text: By optical microscopy of host cells, "Mycobacterium leprae" can be found singly or in clumps referred to as "globi", the bacilli can be straight or slightly curved, with a length ranging from 1–8 μm and a diameter of 0.3 μm. The bacteria grow best at 27 to 30°C, making the skin, nasal mucosa and peripheral nerves primary targets for infection by "Mycobacterium leprae".


title: Mycobacterium leprae

text: "Mycobacterium leprae" has a narrow host range and apart from humans the only other hosts are nine-banded armadillos and red squirrels, and armadillos have been implicated as a source of zoonotic leprosy in humans. In the laboratory, mice can be infected and this is a useful animal model.


title: Mycobacterium leprae

text: Efforts to culture the bacteria "in vitro" remain unsuccessful. Because the organism is an obligate intracellular parasite, it lacks many necessary genes for independent survival, causing difficulty in culturing the organism. The complex and unique cell wall that makes members of the genus "Mycobacterium" difficult to destroy is also the reason for its extremely slow replication rate. "Mycobacterium leprae" prefers cool temperatures, slightly acidic microaerophilic conditions, and prefers the use of lipids as an energy source over sugars. The growth conditions needed for "Mycobacterium leprae" are known, but an exact axenic medium to support the growth of "Mycobacterium leprae" still has yet to be discovered. Since "in vitro" cultivation is not generally possible, it has instead been grown in mouse foot pads, and in armadillos due to their low core body temperature.


title: Mycobacterium leprae

text: The reductive evolution experienced by the "Mycobacterium leprae" genome has impaired its metabolic abilities in comparison to other "Mycobacterium," specifically in its catabolic pathways.


title: Mycobacterium leprae

text: "Mycobacterium leprae"’s inability to be grown in axenic media indicates its reliance on nutrients and intermediates from its host. Many of the catabolic pathways present in other "Mycobacterium" species are compromised, due to the absence enzymes that play key roles in degradation of nutrients. "Mycobacterium leprae" has lost the ability to use common carbon sources, such as acetate and galactose, in its central energy metabolism pathways. Additionally, lipid degradation is impaired, with deficits in key lipase enzymes, and other proteins involved in lipolysis. Functional carbon catabolic pathways continue to exist in the species, such as the glycolytic pathway, the pentose phosphate pathway, and the TCA cycle. These deficiencies extensively restricts the microbe's growth to a limited number of carbon sources, such as host-derived intermediates.


title: Mycobacterium leprae

text: "Mycobacterium leprae"'s anabolic pathways have been largely unaffected by its reductive evolution. The species retains its ability for the synthesis of genetic material, such as purines, pyrimidines, nucleotides, and nucleosides, as well as the synthesis of all amino acids, except for methionine and lysine.