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Chinese blue-and-white ware were copied in Europe from the 16th century, with the faience blue-and-white technique called alla porcelana. Soon after the first experiments to reproduce the material of Chinese blue-and-white porcelain were made with Medici porcelain. These early works seem to be mixing influences from Islamic as well as Chinese ...
Although very much in the "Chinese taste", the pieces also appealed to buyers from Japan and Europe, and many were immediately exported. Other types of wares were made in the Japanese taste, such as the shonsui wares and the ko sometsuke (古染付け) or "old blue-and white" (the same term is used for Japanese-made versions of the style). [7]
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 ...
Distinctive blue-and-white porcelain was exported to Japan, where it is known as Tenkei blue-and-white ware or ko sometsukei. This ware is thought to have been especially ordered by tea masters for the Japanese ceremony. Statue of Guanyin, Ming dynasty (Shanghai Museum)
Tianqi porcelain or ko sometsuke refers to Chinese underglaze blue porcelain made in the unofficial kilns of Jingdezhen (景德镇) for a largely Japanese market in the 17th century. The term Tianqi (天啓; tenkei in Japanese) is a reference to the era name of the reign of the Tianqi Emperor (r. 1621–1628) during the late Ming dynasty , but ...
It has produced a great variety of pottery and porcelain, for the Chinese market and as Chinese export porcelain, but its best-known high quality porcelain wares have been successively Qingbai ware in the Song and Yuan dynasties, blue and white porcelain from the 1330s, and the "famille rose" and other "famille" colours under the Qing dynasty.
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