Blue and white pottery - Wikipedia
Ceramics were made all over China and kilns in the north and south produced An important and very rare Longquan celadon mallet-shaped 'kinuta' vase, Southern so looking at bases can help enormously with dating and authentication. Chinese ceramics show a continuous development since pre-dynastic times and are one of the . Pottery dating from 20, years ago was found at the Xianrendong Cave site, in Jiangxi They have in China a very fine clay with which they make vases which are as transparent as glass; water is seen through them. Results 1 - 48 of Shop from the world's largest selection and best deals for Vintage Original Vase Date Range Porcelain & China. Shop with.
Think of Late Victorian and then some.
Blue and white pottery
The porcelain body The porcelain body can also tell us something. My thought here is that most porcelain figures was made in one factory The Sculpted Porcelain Factory, in Jingdezhen and because of this, it is possibly to make a chronology.
Before they have told me, porcelain figures was molded in bisque fired pottery molds. After they started to use gypsum molds which soaks up water better and made it possibly to make lighter pieces, with thinner walls. The better molds i. As you know this must be done somehow to avoid cracking and warping during the firing. Before I think most pieces were "open" under, that is were resting directly on the base part of the walls.
If this holds true we should therefore suspect that the "sea dogs" who got a base with a hole in can't be older than the s. Generally speaking we can assume that the more work that is done inside the piece, the older the piece.
Came to think of it, weight is also an issue; It is the gypsum molds that makes it possibly to make light weight pieces and that started around Marks Regarding the color and look of 20th century China-marks I can only give you a rule of thumb.
The general idea is, that they were most haphazardly applied during the troubled years of Before that, they were most often stamped in red and afterstamped in underglaze blue or red depending on decoration. As an example of a very recent mark from the Peoples Republic of China P.
- Collecting Guide: 10 things you need to know about Chinese ceramics
- Japanese pottery and porcelain
Regarding numbers, I think that could refer to the mold used or maybe the factory. As a preliminary guess I would place any numbered piece rather late in the history. Regarding stamped or impressed marks, it might be that this is different depending on type of enamel.
It is possibly that the red stamp enamel can't stand high temperatures and that they either had to chose between a paper label or an extra firing for just the China-mark if the glaze is of the high temperature type. By this we can assume that of two similar hard enameled monochromes the ones with paper label, no label or red stamp are older than pieces with impressed marks.
Date Range Oriental Porcelain & China Vase | eBay
Sincerely, Jan-Erik Nilsson P. Dear visitor, If you happen to have a 20th century piece with a mark you know can estimate the date of, I would be most grateful if you would like to send a scan of that to me. Early English porcelain wares were also influenced by Chinese wares and when, for example, the production of porcelain started at Worcesternearly forty years after Meissen, Oriental blue and white wares provided the inspiration for much of the decoration used.
Hand-painted and transfer-printed wares were made at Worcester and at other early English factories in a style known as Chinoiserie. Many other European factories followed this trend. In DelftNetherlands blue and white ceramics taking their designs from Chinese export porcelains made for the Dutch market were made in large numbers throughout the 17th Century. Blue and white Delftware was itself extensively copied by factories in other European countries, including England, where it is known as English Delftware.
Patterns[ edit ] A blue and white Staffordshire Willow pattern plate The plate shown in the illustration left is decorated, using transfer printingwith the famous willow pattern and was made by Royal Stafford; a factory in the English county of Staffordshire. Such is the persistence of the willow pattern that it is difficult to date the piece shown with any precision; it is possibly quite recent but similar wares have been produced by English factories in huge numbers over long periods and are still being made today.
The willow pattern, said to tell the sad story of a pair of star-crossed lovers, was an entirely European design, though one that was strongly influenced in style by design features borrowed from Chinese export porcelains of the 18th Century.
Clay[ edit ] Clay is chosen largely based on local materials available. There is an abundance of most basic types of clay in Japan. Due to naturally occurring kaolin deposits, many porcelain clays are found in Kyushu. Kilns were traditionally built at the sites of clay deposits, and most potters still use local clays, having developed a range of glazes and decoration techniques especially suited to that clay.
The pottery clays found in the Japanese archipelago range from fusible earthenwares to refractory kaolins. Further refinements came about under the Chinese influence in the 8th and 9th centuries AD, when creators of Nara three-color wares and Heian ash glazed wares sought out white, refractory clays and enhanced their fineness through levigation. In Kyoto, where demand makes it both practical and profitable, the clay is crushed, blunged made into slipand filtered commercially.
To use the clay, you must first break it up into small pieces, pour a small amount of water over it, and beat it with a "kine", a wooden mallet, until you obtain the plasticity and uniformity of texture you want. Then you put it through an "aramomi" or "rough wedging" process, a kneading movement, after which the clay is stored for two or three days, or sometimes up to a week.
Before the clay is ready to be thrown, it must pass through the nejimomi "screw-wedge" process, which produces a bullet-shaped mass from which all air bubbles have been removed and in which the granular structure is arranged so that it radiates outwards from the center of the mass. Production methods[ edit ] Potter at his wheel The earliest pieces were made by pressing the clay into shape. This method continued to be employed after the invention of the wheel, such as when producing Rengetsu ware.
Production by kneading and cutting slabs developed later, for example, for Haniwa clay figures.
Potter's wheel[ edit ] The first use of the potter's wheel in Japan can be seen in Sue pottery. The original potter's wheel of the Orient was a circular pad of woven matting that the potter turned by hand and wheel, and was known in Japan as the rokuro.
But with the arrival of the te-rokuro or handwheel, the mechanics of throwing made possible a more subtle art.
The wheel head was a large, thick, circular piece of wood with shallow holes on the upper surface around the periphery of the disc. The potter kept the wheel in motion by inserting a wooden handle into one of the holes and revolving the wheel head on its shaft until the desired speed was reached.
The handwheel is always turned clockwise, and the weight of the large wheel head induces it, after starting, to revolve rapidly for a long period of time.