Collecting 101

1.

Origins

First used in China as an underglaze pigment during the Tang Dynasty (618–690, 705–907), it is not until the Yuan dynasty (1271–1368) that the use under-the-glaze of cobalt ore imported from Central Asia reached full maturity. Tang and Yuan were both extremely prosperous periods for China and rich in trade, which, along with wealth, was essential to sourcing the cobalt ore which produces this vibrant blue as it was only available in Central Asia. . Extremely expensive to source, this pigment was reserved only for wares to be used in special occasions, including diplomatic gifts until the late Ming Dynasty (1368–1644) when local cobalt was discovered in China, leading to the production of more affordable blue and white wares.

Official blue and white wares, commissioned exclusively by the imperial palace and government, were produced in the town ofJingdezhen, the only centre which made porcelain during the Yuan dynasty. Other centres of production generally focused on stoneware, apart from the notable exception of the town of Dehua, whose craftsmen were known for making sculptural pieces made with porcelain stone, or baidunzi.

2.

Export and Innovation

When local sources of cobalt ore were discovered in China in the late Ming Dynasty, blue and white porcelain became more affordable and widespread, with the technique being used for everyday wares as well as pieces for the imperial household. This in turn led to Chinese porcelain being exported around the world.

Taking its name from the Dutch ship that carried it, ‘Kraak’ porcelain is probably one of the most influential and recognisable styles of blue and white ceramics as its development and export coincided with the beginning of the European colonial enterprise which carried it to all four corners of the globe, from South Africa to Mexico to South East Asia and beyond. Before then, this export was mostly limited to diplomatic exchanges between China and central Asian countries, as well as Middle Eastern dynasties such as the Safavids – interestingly, the Iznik style of pottery from Anatolia was developed as a result of the Ottomans looting the Safavids and adopting elements of the Chinese designs into their own patterns.

With the fall of the Ming dynasty in the 17th century, and the rise of the Qing, imperial orders were halted at the porcelain factory in Jingdezhen during the turmoil associated with the dynastic change. This meant that for a period of about 50 to 60 years there was no longer a distinction between imperial and commercial production, but also that the latter was no longer influenced by the patterns and decoration that were ordered by the emperor's household. As a result there was a flourishing of new forms and patterns which revolutionised the style.

3.

Technique

There is something very beautiful about the contrast of bright blue pigment on the pure white body of porcelain and it continues to appeal to collectors and enthusiasts all over the world.

Firstly, the vessel itself is made of a special mix of porcelain stone and kaolin (porcelain clay) which produces the perfect balance of strength and plasticity. The decoration is then painted in cobalt directly onto the porcelain, under the glaze. This method has the advantage of requiring only one firing as opposed to more complicated enamel decoration which is applied over the glaze and requires a second firing in the kiln, resulting in a more fragile finish. The blue and white technique revolutionised Chinese ceramics and is still in use today.

4.

Patterns

Perhaps the two most famous motifs found on blue and white porcelain are the dragon, which represents the emperor, and the dragon and phoenix motif, representing the empress. These subjects, as well as particular variations in colour of the dragon motif, generally indicate the room, person or use in the palace that the porcelain was destined for.

Buddhist symbols and luohans were also popular along with Lanca characters and other motifs derived from Tibetan and Indian traditions. Iconography from the Daoist philosophy was also widespread, with images of deer, peaches of immortality, pine – which represent wisdom and long life – and auspicious symbols of abundance and fertility, such as pomegranates and grapes as well as the 'one hundred boys' design, appearing on various wares. In the 17th century, as more designs became available to commercial wares, narrative scenes from popular literature also began to appear on porcelain, continuing into the early Kangxi period (1661–1722).

5.

Collecting

When collecting in a broad category such as this it’s always a good idea to familiarise yourself with the various patterns and periods and try to focus on a particular aspect of its history or style according to your budget. As with any artwork or object, it’s important to consider condition and provenance before buying as this can affect the future value of a piece.

Collectors should be wary of later copies which can infiltrate the secondary market, and try and handle as many pieces as possible in order to get a feel for the real thing. Public auctions are great for this, you can come to the viewing and ask a specialist as many questions as possible, that's what we are here for.

While the market tends to be strong for blue and white porcelain it’s important to remember it’s not a monolithic category, some pieces like Yuan or early Ming or imperial pieces can command very high prices, while more common Qianlong export tea bowls or 19th century vases can be much more affordable. Generally speaking the value tends to reflect the period of production and rarity – pieces made in the 14th and 15th century were considered luxury goods while in the 16th century, with the rise of commercial kilns, the market opened up into export and domestic luxury. These tiers are generally reflected in market interest today, although sometimes we see spikes in certain categories that have been overlooked for some time.

Once you have found the perfect piece, the most important thing is to store it safely – ideally in a cabinet with glass doors. It’s also best to avoid mounting dishes onto brackets as this can cause chips and cracks. If something breaks, get it professionally restored, whether sympathetically (where the cracks become invisible) or with gold lacquer which actively highlights the repair and can be very beautiful. It is important to consider, however, that there is a preference for sympathetic restoration among Chinese buyers, so this could affect the value of a piece should it be sold later on.

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