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Jan

20

Large Vase with Poem and Floral Design in Gold and Famille-rose enamels on Sky-clearing-blue Ground

By Ceramic Design Ideas



 

Large Vase with Poem and Floral Design in Gold and Famille-rose enamels on Sky-clearing-blue Ground

Qianlong Reign (1736-1795), Qing Dynasty (1644-1911)

While the mouth and neck portions of the vase are glazed in sky-clearing-blue and decorated with a familie rose gold pattern, the stomach is decorated with three groups of floral branches that alternate with verses by the Qianlong Emperor.

Jan

20

Celadon Vase with Bowstring Patterns and Tube-shaped Ears, Longquan Ware

By Ceramic Design Ideas



Celadon Vase with Bowstring Patterns and Tube-shaped Ears, Longquan Ware

 

Southern Song Dynasty (1127-1279)

Longquan kiln is located in Longquan, Zhejiang province The vase was designed after a bronze pot of ancient times. With archaic and elegant style, it is a masterpiece of Longquan celadon wares.

Jan

3

Double-gourd-shaped Vase Decorated with Bats

By Ceramic Design Ideas



Qianlong reign (1736-1795), Qing dynasty (1644-1911)

The double-gourd-shaped vase has a straight mouth, short neck, and a smaller upper bulb compared with the lower one which gracefully terminates in a narrow, slightly upturned foot. The interior wall is applied with turquoise glaze and the exterior with red cloud-like bat designs on the blue-green-glazed ground. At the bottom inside the foot ring, grouped in three lines within a single-line crimson frame, are six crimson characters in seal script reading “Made in the Qianlong period of the Great Qing” (Daqing Qianlong nian zhi).
  Vessels in gourd shapes are typical among traditional Chinese porcelain productions. Based on some of its characteristics such as its intertwining tendrils and profuse seeds (in Chinese, the character for “seed” [zi] is homophonic with the character for “offspring”), the gourd is often connected with auspicious meanings such as abundance and fertility. The gourd was also considered a holy object for Daoist practice. Over the centuries, it was believed that people with miraculous powers were able to use gourd as a vehicle to enter the land of the immortals. At the same time, it is also used as containers for Daoist elixirs of immortality. The pattern decorating the vase is also intended as a rebus in which great fortune and blessing (“hongfu” in Chinese) are represented by image of the red bats (also pronounced “hongfu”).
  Both the elegant, round shape and the bat pattern help us to glimpse how “fortune” was understood and celebrated during the Qianlong reign.

Double-gourd-shaped Vase Decorated with Bats

Jul

5

Four-handled Underglaze-red Flask with Carved Design of Dragon among Clouds

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Four-handled Underglaze-red Flask with Carved Design of Dragon among Clouds

 

Yuan Dynasty (1271-1368)

Special in shape, the flask is embedded with strong nomadic characteristics. The design of dragon among clouds shows the quality and artistic style of the underglaze-red porcelain in the early period of the Yuan dynasty.

Jul

4

Covered Sky-blue Prunus Vase

By Ceramic Design Ideas



Covered Sky-blue Prunus Vase

 

Yuan Dynasty (1271-1368)

Jun kiln site ais located int Yuzhou city, Henan province This vase bears purple-red spots on its moon-white glaze, like clouds floating in the sky. The craftsman did it randomly but somehow achieved a very artistic style. Originally used as a wine container, the prunus vase was designed with a cover. However, as time went by, most of those vases lost their covers. Among the very few surviving prunus vases from the Jun kiln, this one with its cover intact is very precious.

Jul

2

Black-glazed Vase Carved with Floral Design, Lingwu Ware

By Ceramic Design Ideas



Black-glazed Vase

 

Western Xia Dynasty (1038-1227)

Lingwu kiln is located in Lingwu, Ningxia Hui Autonomous Region By comparison, historians found the clay and glaze of this vessel similar to the excavated Lingwu wares in Ningxia Hui Autonomous Region in terms of the clay body and the glaze type. Therefore, this vase is considered a Lingwu ware. Sharing the same glaze colors and subject matters of the motif, porcelain wares of the Western Xia dynasty were deeply affected by the style of Cizhou wares in Hebei province. However, Lingwu wares look strong and wild, reflecting the ethnic characteristics.

Jul

2

Large Green-glazed Plate Carved with Grape Design, Longquan Ware

By Ceramic Design Ideas



Large Green-glazed Plate

 

Ming Dynasty (1368-1644)

Longquan Kiln is located in Longquan city, Zhejiang province Starting porcelain manufacture in the Northern Song dynasty (960-1127), Longquan kilns are famous for celadon wares. Longquan wares of the Ming dynasty have a heavy body covered with a thick glaze layer. The dish displayed here is large in size. It is translucent green glazed and carved with a grape motif in the interior bottom. It is a refined celadon ware typifying early Ming dynasty Longquan wares.

Jul

1

Blue-and-white Cup with the Design of Lions Playing with Balls in the Bottom

By Ceramic Design Ideas



Blue-and-white Cup

Yongle Reign (1403-1424), Ming Dynasty (1368-1644)

This is a new style of cup developed at Jingdezhen imperial kilns during the Yongle reign (1403-1424). The thick wall, the flared mouth, and the low position of the center of gravity of the cup together create a sense of pressure as one holds it with the space between the thumb and the index finger. Thus, it is also known as a “press-hand cup” (yashou bei). In the center of the interior bottom painted a pair of lions playing with an embroidered ball, inside which a four-character Yongle reign mark is inscribed in seal script (zhuan shu). The motif of lions playing with a ball symbolizes peace and auspiciousness. This is one of the four extant press-hand cups with Yongle reign mark, which are all in the collections of the Palace Museum.

Mar

12

handbuilt ceramic design art

By Ceramic Design



As a freelance ceramic design artist I am involved in the design and making of one off individual, limited edition ceramic pieces. These are made using a combination of handbuilding and slip-casting techniques. The motivation behind my work is to create pieces that are both unusual and striking in terms of shape, decoration and scale. The vessel is the basis upon which to experiment with sculptural ideas, where the ‘pot’ is cut into or added to and works visually from many different angles.

The featured black and white ‘MONO’ range (pic below) derives it’s inspiration from 1960′s op artists such as Bridget Riley and Victor Vassarley. I was interested to see how similar designs would translate to a three dimensional surface and the resulting optical effect. The use of black and white exclusively aims to draw attention to the form while highlighting positive and negative shapes, spaces and patterns. Each vessel is glazed, hand decorated and range between 1 – 3 feet in height.

Feb

13

Early China porcelain trade

By Ceramic Design



Wares from the 16th century include Kraak porcelain, Yixing stonewares, Blanc-de-Chine, Blue and white porcelain, Famille verte, noire, jaune and rose, Chinese Imari, Armorial wares and Canton porcelain. Chinese export porcelain is generally decorative, but without the symbolic significance of wares produced for the home market. With the exception of the rare Huashi soft paste wares, Chinese porcelain is hard paste made using china clay and Chinese porcelain stone, baidunzi. While rim chips and hairline cracks are common, pieces tend not to stain. Chinese wares are usually thinner than Japanese and do not have the Japanese stilt marks.

Dutch 17th Century still- life painting by Jan Treck, showing late Ming Blue and white porcelain export bowls (1649).

In the 16th century, Portuguese traders began importing late Ming dynasty Blue and white porcelain porcelains to Europe, resulting in the growth of the Kraak porcelain trade (named after the Portuguese ships called carracks in which it was transported). In 1602 and 1604, two Portuguese carracks, the San Yago and Santa Catarina, were captured by the Dutch and their cargos, which included thousands of items of porcelain, were auctioned, igniting a European mania for porcelain. Buyers included the Kings of England and France. Many European nations then established trading companies in the Far East, the most important being the Dutch East India Company or VOC. The trade continued until the mid-17th century when civil wars caused by the fall of the Ming dynasty in 1644 disrupted suppliers and the European traders turned to Japan.

Export porcelain vase with European scene, Kangxi period.

As valuable and highly-prized possessions, pieces of Chinese export porcelain appeared in many seventeenth-century Dutch paintings. The illustration (right) shows a painting by Jan Treck that includes two Kraak-style bowls, probably late Ming, the one in the foreground being of a type called by the Dutch klapmuts. The blue pigment used by the artist has faded badly since the picture was painted.

Under the Kangxi reign (1662–1722) the Chinese porcelain industry at Jingdezhen was reorganised and the export trade was soon flourishing again. Chinese export porcelain from the late 17th century included Blue and white and Famille verte wares (and occasionally Famille noire and jaune). Wares included garnitures of vases, dishes, teawares, ewers, and other useful wares, figure models, animals and birds. Blanc-de-Chine porcelains and Yixing stonewares arrived in Europe giving inspiration to many of the European potters.

For the potters of Jingdezhen the manufacture of porcelain wares for the European export market presented new difficulties. Writing from the city in 1712 the French Jesuit missionary Père François Xavier d’Entrecolles records that “…the porcelain that is sent to Europe is made after new models that are often eccentric and difficult to reproduce; for the least defect they are refused by the merchants, and so they remain in the hands of the potters, who cannot sell them to the Chinese, for they do not like such pieces”.