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Blue and white ware did not accord with Chinese taste at that time, the early Ming work Gegu Yaolun (格古要論) in fact described blue as well as multi-coloured wares as "exceedingly vulgar". [16] Blue and white porcelain however came back to prominence in the 15th century with the Xuande Emperor, and again developed from that time on. [14]
There was a lot of Oriental inspiration when making these jars, noticed through the blue and white colors on majority of the pots, also referred to as alla porcellana, which means in the form of imported Chinese porcelain, "a trofei" meaning with trophies, "a foglie" meaning leafy designs, and "a frutti" meaning decorated with fruits.
Vietnamese blue and white jar from Chu Đậu kilns, 14th century The Vietnamese had begun exporting their ceramic productions at least since late 13th century to 14th century. [ 6 ] According to archaeological findings in Vietnam and other countries from the 14th century, some Vietnamese ceramics and coins dated 1330 have been recovered from ...
Oriental styles in Delftware remained popular into the early 1700s but then declined when Chinese porcelain became available again. [12] Delftware ranged from simple household items – plain white earthenware with little or no decoration – to fancy artwork. Most of the Delft factories made sets of jars, the kast-stel set.
It is known mainly for its sometsuke underglaze cobalt blue and white porcelain, with the amount of blue often low, showing off the detailed modelling and the very fine white colour of the porcelain. This has a finer grain than most Japanese porcelains, allowing fine detail and thin and complicated openwork in forms.
It was believed that early blue-and-white ware was produced only for export, and that blue-and-white was denigrated in China before it gained acceptance. The early Ming work Gegu Yaolun (格古要論) described blue and multi-coloured ware as "exceedingly vulgar". However, the David vases showed that blue-and-white porcelains were produced for ...
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