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"Kraak" porcelain, a term derived from the Dutch word for a type of ship, refers to a specific style of late Ming blue and white porcelain that was produced specifically for export, and these pieces are an important example of the cross cultural exchange that occurred through trade and commerce. Kraak porcelain is characterized by its distinctive panelled designs, compartmentalized decorative elements, and often a blue and white color scheme. The pieces were made with specific markets in mind, and often had unique characteristics that made them highly desirable to overseas consumers. These pieces were produced in large quantities to meet the demands of the overseas market and were designed to be both durable and functional. The importance of the pieces for trade means that they are an important element in understanding the economic importance of Chinese pottery during the Ming era. The distribution of Kraak porcelain along international trade routes helped to spread the influence of Chinese artistic styles throughout Asia, Europe, and other parts of the world. The study of Kraak porcelain provides valuable insights into the complexities of international trade and cultural exchange during the late Ming Dynasty, and the pieces that were produced during this era help to make up a vital part of our understanding of international artistic exchange. |
Tag : Kraak porcelain, Ming export ware, Chinese trade pottery, blue and white, global ceramics
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.
We've discussed literati taste, but let's focus on the specific motifs associated with scholarly life that often appeared on Ming Dynasty ceramics. The inclusion of these elements demonstrates the ongoing respect for learning, intellectual pursuits, and the natural world that was central to scholarly thought at the time.
While we’ve discussed it before, it is worth revisiting Jingdezhen’s ongoing significance during the Ming Dynasty. The city of Jingdezhen remained the undisputed center of porcelain production during the Ming period, playing a vital role in the development of new techniques and styles and the mass production of porcelain for domestic and international markets. The consistent output of high quality pottery from Jingdezhen made it the central element of ceramic production in China for centuries.
While Famille Rose is most closely associated with the Qing Dynasty, some early elements of this style can be found in late Ming Dynasty ceramics. The experimentation with new color palettes, and the introduction of pink and rose tones, laid the groundwork for the later development of the full Famille Rose enamel style. The inclusion of these new colours expanded the expressive potential of Ming pottery pieces.
While design is important, it's important to recognize the continued emphasis on form during the Ming Dynasty. Potters continued to explore and refine various ceramic forms, creating a range of vessels that were both functional and aesthetically pleasing. The continued focus on form and shape demonstrates the skill and sophistication of potters during this time.