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"Kraak" porcelain, a term referring to a type of late Ming blue and white ware produced for export to Europe and other regions, is characterized by its distinct panelled designs, compartmentalized decorative elements, and intricate patterns. These pieces are an important element in understanding the role of Chinese pottery in international trade. Kraak porcelain was primarily produced at Jingdezhen and was designed to meet the demands of overseas markets, often in large quantities and with designs that were especially popular in different regions of the world. The characteristic panelled designs of Kraak porcelain often included geometric patterns, floral motifs, and symbolic imagery, often within repeated borders. The influence of Kraak porcelain on European ceramics, particularly in the Netherlands and England, is undeniable, demonstrating the cultural impact of these exported pieces. The influence of these pieces can still be seen in pottery designs throughout the West. Kraak porcelain demonstrates the interconnectedness of trade, culture, and artistic traditions during the late Ming Dynasty, and their production and global dissemination represent a key moment in the history of Chinese pottery production. |
Tag : Ming Kraak porcelain, Chinese export ware, blue white pottery, panelled design, international trade
While we’ve touched on Islamic influence, it is worth focusing on the specific influence of Islamic calligraphy on Ming ceramics. The flowing lines, geometric patterns, and stylized forms of Islamic calligraphy sometimes appeared on Ming Dynasty pieces, and demonstrate the cross-cultural exchange of artistic techniques and design elements that was occurring during this period.
While blue and white dominated much of Ming production, the dynasty also saw the development of a vibrant palette of overglaze enamels that led to the creation of "five-color" (wucai) porcelains. These polychrome wares are known for their bright colors, bold designs, and dynamic energy, and the pieces demonstrate the level of innovation that was possible during this period.
While black glazes were used in earlier dynasties, Ming potters achieved a new level of technical mastery in producing deep, lustrous black glazes, often using these glazes to highlight specific forms and decorative elements. This shows that potters during the Ming era were still refining and innovating on previously existing techniques.
Ming Dynasty ceramic motifs, such as dragons, phoenixes, flowers, and animals, are rich in symbolic meaning, reflecting the values, beliefs, and cultural landscape of the era and forming a vital visual language.
While the production of Jian ware declined in earlier periods, its aesthetic influence and functional qualities continued to be appreciated and, sometimes, adapted in Ming Dynasty ceramics, particularly in tea bowls. These types of pieces continued to be prized by tea enthusiasts, which demonstrates the enduring importance and impact of these forms, even centuries after their first production.