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March 8, 2014 |
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Wares from the 16th century include Kraak porcelain, Yixing clay|Yixing stonewares , Blanc-de-Chine, Blue and white, Famille jaune, noire, rose, verte|Famille verte, noire, jaune and rose, Chinese Imari porcelain|Imari, Armorial ware|Armorial wares and Canton porcelain. Chinese export porcelain is generally decorative, but without the symbolic significance of wares produced for the home market. With the exception of the rare Huashi (Chinese soft paste) wares, Chinese porcelain is hard paste. While rim chips and hairline cracks are common, pieces tend not to stain. Chinese wares are usually thinner than Japanese pottery|Japanese and do not have the Japanese stilt marks. In the 16th century, Portuguese people|Portuguese traders began importing late Ming dynasty Blue and white porcelains to Europe, resulting in the growth of the Kraak porcelain trade (named after the Portuguese ships called carracks in which it was transported). In 1602 and 1604, two Portuguese carracks , the San Yago and Santa Catarina, were captured by the Netherlands|Dutch and their content, which included thousands of items of porcelain, were auction|auctioned, igniting a European mania for porcelain. Buyers included the Kings of England and France. Many European nations then established trading companies in the Far East, the most important being the Dutch East India Company or VOC. The trade continued until the mid-17th century when civil war|civil wars caused by the fall of the Ming dynasty in 1644 disrupted suppliers and the European traders turned to Japan. Under the Kangxi reign (1662-1722) the Chinese porcelain industry at Jingdezhen was reorganised and the export trade was soon flourishing again. Chinese export porcelain from the late 17th century included Blue and white and Famille verte wares (and occasionally Famille noire and Famille jaune|jaune). Wares included garnitures of vase|vases, dish|dishes, teaware|teawares, ewer|ewers, and other useful wares, figure models, animals and birds. Blanc-de-Chine porcelains and Yixing stonewares arrived in Europe giving inspiration to many of the European pottery|potters. Although European crests on Chinese porcelain can be found as early as the 16th century, around 1700 the demand for Armorial ware|Armorial porcelain dramatically increased. Thousands of services were ordered with drawings of individuals' coats of arms being sent out to China to be copied and shipped back to Europe and, from the late 18th century, to North America. Some were lavishly painted in polychrome vitreous enamel|enamels and gilding, while others, particularly later, might just incorporate a small crest or monogram in blue and white. Chinese pottery|potters copied the popular Imari porcelain|Japanase Imari porcelains. Chinese Imari continued to be made for export into the second half of the 18th century, examples being recovered as part of the Nanking cargo from the wreck of the Geldermalsen. A wide variety of shapes, some of Chinese or Islamic pottery origin, others copying Faience or metalwork were made. Oriental figures included Chinese gods and goddesses such as Guanyin (the goddess of mercy) and Budai (the god of contentment), figures with nodding heads, seated monks and laughing boys as well as figures of Netherlands|Dutch men and women. From the mid-18th century, even copies of Meissen figures such as Tyrolean dancers were made for export to Europe. Birds and animals, including cows, cranes, dogs, eagles, elephants, pheasants, monkeys and puppies, were popular. From around 1720, the new Famille rose palette was adopted and quickly supplanted the earlier Famille verte porcelains of the Kangxi period. Famille rose enamels for the export market included the Mandarin Palette. Specific patterns such as tobacco leaf and faux tobacco leaf were popular as were, from around 1800, Canton decorated porcelain with its figures and birds, flowers and insects. Many other types of decoration such as encre de chine or Jesuist Wares, made for Christian missionary|missionaries, pieces with European subjects like the Judgment of Paris, or Adam and Eve, were made for the European market. As trade developed, finer quality wares were shipped by private traders who rented space on the East India Company ships. The bulk export wares of the 18th century were typically teawares and dinner services, often Blue and white decorated with flowers, pine, prunus, bamboo or with pagoda landscapes, a style that inspired the Willow pattern. They were sometimes clobbered in the Netherlands and England to enhance their decorative appeal. By the late 18th century, imports from China were in decline. Tastes were changing and competition from new European factories with mass-production brought about industrialisation took its toll. Highly decorative Canton porcelain was produced throughout the 19th century but the quality of wares was in decline. By the end of the century, Blue and white wares in the Kangxi style were produced in large quantities and almost every earlier style and type was copied into the 20th century. Category:Pottery Category:Chinese culture This article is licensed under the GNU Free Documentation License. It uses material from the Wikipedia article "Chinese export porcelain".
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