For many centuries China has been pre-eminent in the production of ceramics. Indeed the very name ‘china’ is a term for ceramics, particularly porcelain because for many centuries the country was the origin of the world's finest ceramics.
As with many ancient cultures the production of earthenware vessels from clay goes back a very long way, in the case of China at least 8,000 years. By 3,500BCE distinctive styles and decorations covered amazingly thin ceramic objects: the Yangshao ➚ and Longshan ➚ cultures. The legendary Yellow Emperor Huangdi is credited with supervising the imperial kilns. In the Shang dynasty a characteristic green glaze was applied to stoneware pottery in bold swirls and lines. Glazed as well as unglazed 'terracotta' pottery continued into the Han dynasty. A proto-porcelain started to be made in small quantities by the late Han dynasty. The gradual development towards fine, smooth porcelain continued into the Tang dynasty when quartz and feldspar were mixed with the clay. By this time several different colored glazes were available - including the famous 三彩 sān cǎi three color glazes ➚ of green; brown and blue.
With the rise of Islam in the Song Dynasty there was a large increase in trade by sea from southern Chinese sea ports to Africa and to Japan. Some Islamic motifs were brought into Tang and Song decorations. Zizhou in Hubei was an important center at this time.
The plain designs of celadon ➚ Song porcelain remain some of the most prized ceramics ever produced. Many have characteristic light green, crackled glazes in simple shapes without decoration. The high price of original celadon wares has encouraged forgers to produce 'replica' vessels that are very difficult to distinguish from the originals. When the center of Chinese culture moved south in the Song, new kilns were built. The Song period saw further innovation; the careful control of firing temperature and turning of the clay led to many quality creations. The shapes are sober and pure for all kinds of vessel: jugs; bottles; bowls and cups. Some were undecorated while others had simple naturally inspired designs incised. Famous kilns were at Dingzhou, Hebei; Longquan, Zhejiang and Ruzhou, Henan.
By the time of the Sui dynasty true porcelain had at last been mastered using the kaolin found near Jingdezhen, Jiangxi. The fine local clay is fired to a very high temperature to produce thin, translucent but robust porcelain. The porcelain found favor with the Imperial court and it was huge Imperial orders for porcelain that led to the expansion of production at Jingdezhen (probably as early as 557CE). At this point manufacture still used small family run kilns, with specialist techniques kept carefully secret. The separate skills of clay preparation, glaze mixing and decoration developed as separate professions. China clay was mined and mixed with crushed feldspar into a fine powder that was passed through a silk sieve. Water was added to the clay and it was thrown onto a potter's wheel to form a rough shape. Another worker refined the shape and added detailing. The object was then passed on to a specialist who applied glazes and finally the porcelain was fired for a few days. Sometimes there were multiple applications of glaze and firings to achieve the finished piece. Other ceramics continued to be produced in China at such places as Yixing, Jiangsu where their famous red teapots were produced. These became very popular in Japan where they are known as 'temmoku ➚'.
The Yuan dynasty saw a continuation of the Song manufacture but with a much wider export market to India; Indo-China and Persia, the range of designs widened. Islamic designs came into prominence and cobalt blue ➚ from Persia (Iran) added to the range of colored glazes available. However the high level of refinement and innovation of the Song vessels was lost in the succeeding Yuan dynasty when 'blue and white' began to predominate.
Later in Ming dynasty times the kilns at Jingdezhen, Jiangxi for the production of porcelain were further expanded. China's system of rivers and canals was ideally suited to the safe transport of this delicate merchandise. By 1433 over 500,000 pieces were being produced each year in an early example of integrated mass production using specialist craftsmen for the different phases and different designs. As many as seventy people could be involved in the production of a single piece. Kilns specialized in creating different styles of porcelain, some craftsmen were expert in just particular styles of ornamentation. The secret of the translucent, fine white 'china' was a closely guarded secret. The pure white kaolin ➚ clay (china clay) was used in mass production for the imperial court and later on for export to Japan and then to Europe. The porcelain is fired to a high temperature 2,552 ° F [1,400 ° C] to achieve higher strength than conventional ceramics. The famous early 'blue and white' glazed wares achieve high prices at auction today, but many forgeries have been made, as long ago as the late Ming. Indeed it is said only one in ten of pieces marked as Ming actually date to that period. The blue color comes from cobalt oxide or carbonate added to the glaze which was imported from Central Asia. European manufacturers tried hard to copy the sought after properties of porcelain but could only produce 'cream wares' which were thick white glazes over earthenware bodies. Highly prized by the middle and upper classes in Europe the export of porcelain overtook silk as the most valuable Chinese export. [The name 'porcelain' comes from an old Italian name for the polished, glazed surface of cowrie shells (porcellana) that resembles Song celadon wares]. Porcelain is called 瓷 cí in China.
It was in Ming times that the cloisonné ➚ enamel technique was invented. Areas of an object are laid out with fine metal wire which are filled with powdered enamel and fired. This is enables objects with a large amount of fine, exquisite detail to be produced.
The secret of porcelain was kept safe from foreigners by only allowing trade in the precious cargo at Guangzhou (then known as Canton) far away from the craftsmen who made it. All the millions of items were carried south by boat along the Gan River, Jiangxi and then on foot over the mountains down to the Pearl River and then by inland boat on to the port of Guangzhou. Once the secret of porcelain was discovered, European manufacturers were able to make it from kaolin deposits (produced by the weathering of granites) elsewhere in the world, for example at St. Austell in Cornwall ➚.
From Ming into Qing times the range of colors increased and the majority of production was geared to export. So designs reflected European tastes, often specifically commissioned, rather than using traditional Chinese motifs. China was produced with European scenes with European people and wildlife in the landscapes. Although technically the porcelain became progressively more refined and better made, the creativity of the designs went into decline. This was partly due to the imposition of central control over production from Beijing which stifled individual creativity. Pieces became larger and garishly colored and over-ornamented.
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