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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 the Japanese aesthetic of wabi-sabi (embracing imperfection and impermanence) is not a direct influence on Ming Dynasty ceramics, some of the pieces, through their simplicity, subtle glazes, and natural variations, might resonate with this sensibility, highlighting the enduring power of these particular values in ceramic production. The value given to natural materials and subtle variations in tone is a recurring element of many 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.
The Xuande reign (1426-1435) is celebrated for its exceptional blue and white porcelain, characterized by refined cobalt blue glazes, intricate designs, and a peak of technical and artistic sophistication in Ming ceramic production.
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.
While we’ve addressed Jingdezhen before, it is useful to revisit its significance as a global center during the Ming Dynasty. The kilns of Jingdezhen, as the most important site for ceramic production at this time, not only supplied pottery for domestic markets, but also for international trade as well, and its influence was felt throughout Asia, the Middle East, and Europe, and it remains the heart of Chinese pottery production even today.