ABSTRACT
Over the course of hundreds of years, many of the artifacts the missionaries had sent to Rome were placed in the Vatican’s Ethnological Museum. To be more specific, the technology used to produce some of the décor’s colored enamels was introduced to the imperial glassworks by a Jesuit missionary-artisan from Bavaria. It may be viewed instead as a valid way to investigate production at the imperial glass workshop in Beijing. Maurice Jametel has described the confluence of these several different cultural traditions as being un triangle du longevite. Inevitably, China looked to its own glass-making centers for the production of similar wares. One of these was a small city known as Boshan. The gradual replacement of traditional Chinese enamels with European-style glass-based ones led to the establishment of not only an entirely new mode of Jingdezhen porcelain enameling but also a new mode of glass making in Boshan.
