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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]
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 ...
Pottery was also produced using a tin based white glaze and coloured glaze designs in blue, green, yellow, and brown, rather than just blue on a white background, in a style that is referred to as Maiolica. The body colour of earthenware varies depending on the raw materials used, and can range in color from white to brown. It is generally ...
Arita porcelain dish with underglaze blue, with design of river, weirs, and maple leaves, c. 1650–1670s Arita Sarayama dish with overglaze polychrome enamel design of plum and fence, 1700–1730s Arita ware ( Japanese : 有田焼 , Hepburn : Arita-yaki ) is a broad term for Japanese porcelain made in the area around the town of Arita , in the ...
The Trianon de Porcelaine built between 1670 and 1672 was a Baroque pavilion constructed to display Louis XIV's collection of blue-and-white porcelain, set against French blue-and-white faience tiles both on the interior and exterior of the building. It was demolished in 1687. [4]
Though underglaze blue on white wares were the main products after the better kaolin was found in 1712, there were always some other types of decoration used, either for details or as the main colouring. These included the use of unglazed biscuit porcelain, an underglaze celadon and other colours, and overglaze enamels. [10]
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