The Art of Porcelain

Porcelain is an integral thread of the fabric of Chinese culture. In the 14th century, while Europeans were trying to eat low-fired earthenware or wooden dishes, the Chinese had developed the first painted porcelain. They were using cobalt, which was originally imported from Iran during the Yuan period (1279-1368 AD), to add specific color shades, from pale blue to nearly black to translucent white wares. Before Marco Polo brought back a few samples, the world could not and still cannot know enough of it.

Copper is the second basic color of under glazed decoration. It offers shades ranging from brown muddy first Ming Dynasty at the beginning of the true red of the 18th century. ‘Peach Blossom’ or ‘green fishery’ is a greenish glow produced when copper is oxidized.

Overgrazed decoration was a variety of glazes and called famille rose (a French expression meaning ‘famille rose’). It concerns famille (green), famille noire (black), and famille yellow (yellow). Pieces on a black background enameled in famille rose or in combinations such as pink-Verte (pink and green) was one of the innovations in late 17th century. And when people generally accepted that, overgrazed enamel decoration reached its peak in the 18th century.

The Japanese at this time were also developing porcelain, mostly in the form of ceremonial objects like the tea ceremony. The famous Satsuma porcelain you hear so much about was a 17th-century innovation, adopted from Korea and then greatly improved upon. By the Meiji period (1868- 1912) the Japanese had taken enameling to a new level. High fired and reflecting the Japanese characteristics of meticulousness, precision and definition, these porcelain paintings were highly conceptual. The art of Japanese enameled porcelains peaked between 1880 and 1920, whereas Chinese porcelain was at its best between 1710 and 1810.

In recent years, a particularly good value and particularly rare porcelainshave become excessive. In March 2008, we sold a large Hongwu vase during Asia Week in New York, $ 1.2 million. Fortunately, there is still a great beauty are within the price range available. Mild deficit will bring the price down, but the products are still highly collectible and consistently appreciate in value.

Generally absent from the glaze occurs most often during cooking. While several glaze colors can theoretically be fired at the same time, more often than not, they are cooked separately. If gold, gold was the last to go. It is the first to calm down.

When evaluating a particular element of China, we must first look at it as if it were perfect, and determine what price perfection. (Access our online catalogs and prices realized for each auction to use as a reliable price guide.) From there, decide the errors in the piece and appreciate the value in its current state.

My personal opinion is that very fine porcelain pieces with some damage or restoration are great buys today. A bowl Chien Lung, for example, would be perfectly within the reach of most people. But if you find one with a small chip that has been expertly repaired and the bowl would make a lovely addition to your collection, you can buy. They do not make them like this any more chances and it retains its value even appreciate, is enormous.

What does a copy, you can find them easily. The decoration is usually too elaborate. Since it does not show much wear in china, you’ll immediately notice if the work looks like someone has done a great steel wool and removed it, put the pieces on the wheel or tried to tone it down chemicals.

Japanese Porcelain, in Meiji period, particularly after Kutani, Zone was never really taken. There are also some examples out in Japan in recent days.