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"Kraak" porcelain, a term derived from the Dutch word for a type of ship, refers to a specific style of late Ming blue and white porcelain that was produced specifically for export, and these pieces are an important example of the cross cultural exchange that occurred through trade and commerce. Kraak porcelain is characterized by its distinctive panelled designs, compartmentalized decorative elements, and often a blue and white color scheme. The pieces were made with specific markets in mind, and often had unique characteristics that made them highly desirable to overseas consumers. These pieces were produced in large quantities to meet the demands of the overseas market and were designed to be both durable and functional. The importance of the pieces for trade means that they are an important element in understanding the economic importance of Chinese pottery during the Ming era. The distribution of Kraak porcelain along international trade routes helped to spread the influence of Chinese artistic styles throughout Asia, Europe, and other parts of the world. The study of Kraak porcelain provides valuable insights into the complexities of international trade and cultural exchange during the late Ming Dynasty, and the pieces that were produced during this era help to make up a vital part of our understanding of international artistic exchange. |
Tag : Kraak porcelain, Ming export ware, Chinese trade pottery, blue and white, global ceramics
While we’ve addressed innovation before, it is useful to conclude by focusing on the enduring legacy of specific technical innovations of Ming potters. The techniques they developed, refined and combined continue to influence potters around the world today, and highlight the continued relevance of Ming era styles and production methods.
Jingdezhen was the pivotal center of Ming Dynasty ceramic production, hosting imperial kilns that attracted skilled artisans and oversaw meticulous production, significantly influencing ceramic art, technology, and innovation.
Color itself held symbolic meaning in Ming Dynasty ceramics, and specific colors were often chosen to convey messages of good fortune, power, prosperity, or spiritual significance. This demonstrates the ongoing importance of colour theory and symbolic understanding in Chinese art during this period.
While Famille Rose is most closely associated with the Qing Dynasty, some early elements of this style can be found in late Ming Dynasty ceramics. The experimentation with new color palettes, and the introduction of pink and rose tones, laid the groundwork for the later development of the full Famille Rose enamel style. The inclusion of these new colours expanded the expressive potential of Ming pottery pieces.
While blue and white dominated, the Ming Dynasty also saw the development and refinement of "five-color" wares (wucai), which employed a range of vibrant overglaze enamels, including red, green, yellow, and aubergine, often used in combination with underglaze blue. These pieces demonstrate a more colourful and decorative style of pottery production that became increasingly popular during this period.