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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 Buddhism was a major influence, Daoist symbolism also appeared on some Ming Dynasty ceramics, reflecting the influence of this ancient Chinese philosophy on daily life. The Daoist symbols that appear on these pieces are an important aspect of the overall visual language that was being used during this time.
While cobalt blue was dominant, Ming Dynasty potters also explored and refined the use of iron-red glazes. These glazes, characterized by their warm reddish-brown tones and smooth, often glossy surfaces, became an important element in both the decorative and symbolic vocabulary of Ming pottery production. The use of these types of colours is a testament to the technical skill and artistic sensibility of potters during this era.
While the Ming Dynasty saw the flourishing of Chinese tea culture, some late Ming ceramics, particularly those intended for export to Japan, were subtly influenced by the aesthetics of the Japanese tea ceremony (chanoyu). This influence highlights the cross-cultural exchange that occurred through trade and artistic interaction.
While previously mentioned, it is helpful to revisit the specific techniques that were used to produce a turquoise-blue style glaze in the Ming era. While not as common as other colors, some Ming potters achieved beautiful and unique shades of turquoise blue, showcasing their technical skill and experimental approach to glaze development.
While we have previously covered Longquan kilns, let's focus on the techniques and how they were adapted in Ming Dynasty. Even though the Longquan kilns saw a decline in prominence, the techniques for producing celadon wares were continued and reinterpreted in many Ming Dynasty ceramics. The versatility and elegance of celadon styles meant that they continued to be influential even during this period of stylistic change and innovation.