Young Mi Lee     Chinese Porcelain for Export

The seventeenth century saw some interesting developments in Chinese porcelain production. It is the advent of “chine de commande”, that is, the development of customized porcelain for export.
European consumers started to demand a particular porcelain that could suit their taste, and Chinese makers tried to meet western consumers’ needs by producing porcelain in western shapes. This trend lasted until the twentieth century. The fact that Chinese porcelain producers tried to adapt to western customer taste shows that China during this period started to integrate into the international trading network.

1. Transitional Period (1620-1680)

The new trend began in the transitional period (1620-1680) when the Dutch took the place of the Portuguese in the China trade. Unlike European consumers in former times who viewed Chinese porcelain as a treasure, new western customers in the seventeenth century wanted porcelain for daily use. Chinese makers immediately answered this request from the west. They began to produce western-shaped porcelain. Ironically, this change went with the decrease of porcelain export. Before China would enjoy the short revival in the nineteenth century, export of Chinese porcelain to western countries continuously declined.

During the period, Chinese makers exported porcelain in western shapes like beakers, pepper & salt dishes, mustard-pots, and candleholders. The decoration was dominantly Chinese with some occasional western motif such as tulips. For example, Chinese figures in front of Dutch-type houses and Chinese landscape with tulips were frequently used.

The communication between western merchants and Chinese makers was systematic. Western traders gave Chinese makers a short description of the kinds of porcelain that they wanted. Since westerners were not allowed to operate outside Canton. Therefore, the local Co-Hong, the merchant organization with imperial licence played an important role as mediator between producer and merchant. Some western buyers sent wooden models, paintings, earthenware, and even silverware instead of written descriptions to the producers. Those models were sent back to Europe to make sure the order was made according to the sample. Sometimes, unfinished porcelain was sent down from Jingdezhen to Canton to be decorated. By doing this, western merchants could reduce mistakes caused by miscommunication, and had a better chance of getting what they wanted.

2. The Eighteenth Century (1680-1800)

Chinese porcelain makers tried harder to satisfy western customers in this period. They adopted western shapes more vigorously and extensively for the taste of European customers. Coffee-pots, chocolate-pots, butter dishes, and dinner service became popular in Chinese porcelain. Most of designs were directly derived from European silver, pewter, and earthenware.

Also, western decoration began to be common in Chinese porcelain for export. Mythological scenes such as “Venus and Hermes”, religious subjects like “The Baptism of Christ” “Madonna and Child”, and political events were found in Chinese porcelain for export. Chinese artisans had a difficult time with three dimensional objects as well as some western motifs. In this period, English and American consumers became important. Accordingly, some American symbols and historical events were described such as American eagles with shields, and the Declaration of Independence.

While Chinese makers tried to adopt western decoration, there are many examples indicating that Chinese porcelain was imitated by western porcelain makers. English dishes with Chinese-like designs that were not made in China were found. Several pieces of French porcelain with Chinese decoration also suggest that western makers tried to imitate Chinese decoration. In some cases, unfinished porcelain was sent to China for decoration. A German tray with Chinese decoration is believed to have been decorated in China.

Map of Jiangxi with Jingdezhen, China's 'porcelain city'

Clay preparation

Throwing a large pot

Trimming the thrown pot

undergalze paint
pile of firewood for firing the kiln
kiln roof
kiln with saggers
small kiln