Porcelain China Marks
The Porcelain introduction of China and JingDeZhen
Porcelain, also called ‘fine china’, featuring its delicate texture, pleasing color, and refined sculpture, has been one of the earliest artworks introduced to the western world through the Silk Road. The earliest porcelain ware was found made of Kaolin in the Shang Dynasty (16th – 11th century BC), and possessed the common aspects of the smoothness and impervious quality of hard enamel, though pottery wares were more widely used among most of the ordinary people.
The development of porcelain in the Han Dynasty (206 BC – 220) began to accelerate and before long the artworks were introduced westward. Celadon (like the color of jade) and black porcelain wares were the dominant types at that time. During the Tang Dynasty (618 – 907), a large number of porcelain wares were in daily use having been substituted for the ones made of gold, silver, jade and other materials. Stepping into the Song Dynasty (960 – 1279), a variety of genres of porcelain appeared and it became a fashion that people showed great interest in purchasing and collecting certain wares suitable to their tastes. Well developed in the Yuan Dynasty (1271 – 1368), the blue and white porcelain (Qinghua Ci), in the main stream of porcelain, was the stylish artistic ware in the Ming and Qing Dynasties and promoted this period to be the most prolific in the field of feudal art. To talk about the buly and white porcelain, there is a important place , Jingdezhen, is known as the “Porcelain Capital” and is located in northeastern Jiangxi. During the Jingde Period (1004-1007) of the Southern Song dynasty, emperor Jingde decreed all the pieces made for court to be marked ‘made in the Jingde period and subsequently the city changed its name from Xinpin to Jingdezhen. For centuries, the city has been considered to be China’s most important center for porcelain production. Ceramics were produced here as far back as the Han dynasty (206-220BC). The imperial porcelain was so exquisite that it was described as being “as white as jade, as bright as a mirror, as thin as paper, with a sound as clear as a bell”.Today, Jingdezhen remains a national center for porcelain production. The most famous types of porcelain from Jingdezhen are the blue and white porcelain, which has been produced since the Yuan dynasty (1280-1368AD) and the rice-patterned porcelain that was introduced in the Song dynasty.
While in this city, tourists can visit one of the many pottery factories. The Museum of Ceramic History has items found among the ancient kiln sites and also has workshops demonstrating porcelain production techniques.Since the Ming period, the composition of the porcelain body has remained 60 per cent chinastone and 40 per cent kaolin. Both materials were traditionally made into brick shapes and mixed together. Before the invention of the pugmill, craftsmen would wedge a large mass of clay with their feet into a circular mound. Now it is pugged and then lightly rolled towards the body. Containing no ball clays and thus having little plasticity, classical Jingdezhen porcelain is an adventure to throw. The general rule is to throw thick walled pieces and, when thoroughly dry, trim both the inside and outside to desired thickness. As much as half the body will be trimmed away. The wheel is run on a large and powerful electric motor with pulleys. An old-fashioned lever that clicks into notches regulates the speed, much like the old farm tractors. Thick bats, more than one metre in diameter, are centred on the wheel head and stay in place by the sheer weight of the clay.
The next step is to get a dozen or more of the 10 kilo porcelain balls on to the wheel. The growing mound is centred one ball at a time until a sufficient mass is attained. Initial centring requires the help of an assistant grasping the hands of the master thrower and forcing his energies through the master’s hands to centre the clay. At some studios two assistants steady the master’s hands for centring and opening. The centred clay is then opened and the bottom is quickly widened to its desired measure. The walls are raised progressively and then shaped. An assistant’s hands are used in the throwing until the final shape is near. The last shaping is completed by the master alone until the form reaches 1.5 m in diameter. The apparent simplicity and ease belie a master’s touch with a difficult material. The rim is carefully measured with a stick. Many shapes are parts of a two or three piece finished form.
Sections are assembled after the pieces have become bone dry in the sun and each section has been rough trimmed. A slurry of pancake batter consistency is made with the trimmings from the specific pieces to be joined. This is poured on to the rim of the bottom piece and the top section is lowered and centred. Within 10 seconds the trimmer begins to shave the assembled form to a final shape. The tools are kept razor sharp. It takes four men to haul away the porcelain form on a wooden platform with handles and take it out into the sun to dry. If it does not crack here it will make it through the firing. Attempting to trim Jingdezhen porcelain before it is dry is folly because the tools gouge out chunks of clay. The tools and the process must follow the nature of the material. A final soaking of the surface with a thick round brush dipped in water reveals any imperfections such air bubbles which must be removed.
You can find Porcelain products made in JinDeZhen on: http://www.thesameprice.com/Wholesale-porcelain_c18
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