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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]
The fired body is naturally white but usually stained with metallic oxide colors; its most common shade is pale blue, but dark blue, lilac, sage green (described as "sea-green" by Wedgwood), [9] black, and yellow are also used, with sage green due to chromium oxide, blue to cobalt oxide, and lilac to manganese oxide, with yellow probably coming ...
By the end of the 14th century, primary production sites in Jingdazhen shifted from bluish-white colored wares to predominantly blue-and-white porcelain. [2] This blue-and-white porcelain was extremely valuable by the Middle Ming Period. [2] Its widespread distribution is revealed through Kraak porcelain found in European, colonial, and ...
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]
Delftware or Delft pottery, also known as Delft Blue [1] (Dutch: Delfts blauw) or as delf, [2] is a general term now used for Dutch tin-glazed earthenware, a form of faience. Most of it is blue and white pottery, and the city of Delft in the Netherlands was
Small cup with the "Five Treasures", Chenghua reign mark, 2.9 × 7 cm, PDF.767. Doucai (Chinese: 斗彩; Wade–Giles: tou-ts'ai) is a technique in painting Chinese porcelain, where parts of the design, and some outlines of the rest, are painted in underglaze blue, and the piece is then glazed and fired.
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 ...
The blue colour is more violet or royal blue in tone, which is different in shade from the blue used in Ming dynasty porcelain. The ability to achieve colour gradation famille verte is limited. The coloured enamels are often painted over the pure white body of the porcelain which comes over through the glaze.
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