A Quick Guide to Blue and White Pottery

Why blue and white?

Cobalt oxide, found in various regions of China as well as in many parts of the world, is used to create the designs that adorn blue and white pottery. Cobalt is naturally black but when it is covered with a transparent glaze and fired, cobalt becomes blue. Depending on where it is found, cobalt’s composition can vary; hence the different shades of blue found on various pieces of pottery.

Is all blue and white pottery Chinese?

The use of the blue color can be traced to pottery decoration in Iraq during the 10thcentury. The technology then spread via trade on the Silk Road to China, where decorating porcelain with blue designs was refined during the Ming dynasty (1368–1644).

Very little was known about porcelain in Europe prior to 1600. In 1604, a Dutch ship captured a Portuguese merchant vessel returning from a voyage to China. On board were approximately a hundred thousand pieces of hand-painted blue and white porcelain. These porcelains were auctioned off in Amsterdam igniting the West’s fascination for Blue and White. The Chinese then began exporting wares around the world which inspired the Dutch to initiate their own style (Delft ware). When Spanish ships brought Chinese export wares to Mexico, a unique variation of the craft, (Talavera ware) was born.

How do Imperial pieces differ from other examples?

There are several methods of deduction used to determine if an object was produced in an Imperial kiln or by a provincial kiln: technical standards, marks and inscriptions, and motifs.

Imperial porcelains were made by mandate at kilns established by an Emperor or produced by other kilns that adhered to imperial production specifications. All imperial porcelains had to meet a list of production and artistic requirements to be included in the Emperor’s collection or to be offered as gifts from the Emperor to foreign guests. Most kilns would inscribe or stamp the bottom of a piece of pottery with the kiln name, as opposed to the signature of an individual artist. A kiln name would indicate location and the type of wares produced there during which imperial reign.

Many types of porcelain never made it to the Emperor’s table. Named ‘provincial,’ this pottery included vessels made for general consumption as well as objects made for imperial use, but rejected based on technique or motif. Pottery produced for general consumption may have been fired at lower temperatures, resulting in a glaze with a matte finish. Often, the decorations on these provincial pieces are more freehanded and, as such, have become appreciated as Chinese folk art.

Why do some blue and whites have Arabic patterns on them?

Chinese pottery is often decorated with Arabic script or floral motifs native to Iran. This can be traced back to the Mongolian invasion of China during the Yuan Dynasty (1279–1368), a time when social hierarchies were changed and Chinese scholar-officials were given low rank. At the time, foreigners living in China became particularly involved in the supervision of traditional crafts, roles previously claimed exclusively by Chinese people. The Muslims played an influential role in the construction and supervision of Chinese porcelain kilns. With this influence, Islamic tastes, techniques and materials were introduced and culturally transmitted via pottery.

Why dragons?Dragons are often rendered on blue and white pottery among flowers, clouds, waves, lotus ponds, or chasing and/or fighting over a flaming pearl. The setting in which the dragon is situated and how the dragon itself is presented is not only decorative, but also a deliberate choice to represent a specific dynastic tradition. For example, a dragon in waves, facing forward, with its gaze on the viewer indicates the Qianlong reign.

Is blue and white pottery being produced today?

The old imperial kilns at Jingdezhen in Jiangxi province are still busy with traditional porcelain production. Additionally, there has been resurgence in the production of blue and white porcelain among contemporary Chinese artists. Taikkun Li is one artist working in traditional porcelain practices, combining them with a modern twist. His work reflects the changing social and political ideas of contemporary China.

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To view a selection of Chinese blue and white pottery from Pagoda Red’s collection, click here

Originally published at www.old.pagodared.com on June 10, 2010.