Chinese blue and
white pottery
Chinese
pottery flourished under court patronage of different
dynasties of Imperial China, where skilled craftsmen
devoted their lifetimes to perfecting the skills honed by
those before them. They created masterpieces, only the
best of which were sent to the royal patron, says Harkiran Sodhi
ONE of the finest examples of
ancient Chinese art forms is their blue and white
pottery. Some of the finest and most distinctive pieces
of pottery were created by the Chinese long before such
attempts were made (often in the form of blatant copies),
like with Delft pottery, in the West.
Chinese pottery flourished
under court patronage of different dynasties of Imperial
China, where skilled craftsmen devoted their lifetimes to
perfecting the skills honed by those before them,
creating masterpieces, only the best of which were sent
to the royal patrons. Of course, different dynasties left
a distinctive stamp on pottery of the period.
The Yuan Dynasty
(1206-1368) saw many innovations come into the
traditional Chinese pottery designs largely due to the
Mongol invasion, shapes the usage of colour charged.
Pottery painted in two or three colours, with bold
decorations carved on the object were some significant
changes seen during this period.
Another major innovation was the use of
cobalt blue as the main decoration colour. The colour was
probably imported and soon this new blue and white
pottery became quite the rage. The coarser varieties made
in southern China were used for trade while the finest
pieces from Ching-te-chen were selected for the court.
Designs on the pottery
were bold, precise and usually filled the entire space
with panels and borders. Popular motifs used to decorate
the blue and white pottery pieces in this period were
dragons, lotuses, fish, floral scrolls and vines as well
as Taoist figures.
In the early period of the
Ming dynasty, the Yuan designs on the blue and white
pottery were not only continued but also changed and
refined in the colours, shapes and designs. Considered
unsuitable for court use due to its coarse texture, the
first Imperial reign mark found on the pottery was from
the Hsuan-te-period (1425-35).
By then designs had
changed to delicate and beautiful floral designs and
dragons. Popular shapes were vases, jars, dishes and stem
cups, on which the deep-blue designs were painted. Often
an underglaze was used in either red or blue with the
other colour contrasted for the design.
What set the Ming pottery
apart from the earlier pieces was the use of polychrome
enamels and glazes as well as the delicate classic blue
decoration. By the Cheng-hua period (1464-87) the
designs had become over-ornate and between 1505-21 Arabic
inscriptions were often found on the pottery made for the
emperor and his Muslim eunuchs.
Pottery quality was poor
in the Chia-Ching (1521-61) and Wan-li (1572-1620)
periods. After suffering a setback in the 17th century,
blue and white pottery in the Kang-hsi period was
resurrected with the blue now of a more intense shade and
intensity with the use of cobalt washes.
Blue and white pottery
continued to flourish in China. The workmanship improved
with the shapes becoming better balanced and the glazes
becoming even more perfect and brilliant in hue.
Decorations which were a pictorial representation were
often used and eggshell thin porcelain sometimes with a
secret decoration started.
Ironically, the best of
Chinese pottery is not in China. The Encyclopedia
Britannica says:
"Today two of the
most important collections of Yuan and Ming blue and
white are in Teheran (formerly the Collection of Sheikh
Safi at Ardebil) and in Istanbul (Topkapi Saray
Museum)" .
The beauty of the Chinese
blue and white porcelain is undeniable, while the unique
shapes and usage of porcelain objects were intriguing.
Pillows have been seen in many shapes and sizes but the
Chinese liked their pillows made out of porcelain. These
pillows came in many different shapes and designs, one of
the more commonly seen designs was in the shape of a
reclining boy whose back makes up the nest of the pillow.
Just as we keep dogs or
cats as pets in our homes, the Chinese have always loved
crickets and keep them as pets. Even today if you stop to
rest in a park in Hong Kong in the evening, you will find
elderly Chinese who bring crickets in little baskets and
hang them up wherever they can. So it is understandable
that in imperial households earlier there were special
crafted, truly exquisite porcelain cricket boxes, to show
off the pet in.
In the accompanying
photograph, if you look at the top left, you will see an
18th century double plate with a warmer for hot water to
keep food warm. The plate on the top right in an early
Ming piece with a landscape design. The second row from
the top as two vases, while the third row as a 19th
century pieces, an incense burner (left) and a jar. The
fourth row also features jars.
Distinctive pieces, yet
sharing the same flavour of excellence.
|