Page 150 - A Re-examination of Late Qing Dynasty Porcelain, 1850-1920 THESIS
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earliest documented export wares to reach Europe was the Fonthill Vase around 1300–

                   1330 (Figure 48). 186   While the vase no longer exists, images depicting the vase have


                   survived. These images have established that the vessel was a qingbai ci 青白瓷 bottle


                   with panels featuring cutout motifs and floral decoration.  While this may have been the

                   earliest export ware to reach Europe, very little is known about it except for a few


                   drawings of the vessel.  Even though wares clearly came from China as early as the

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                   Fonthill Vase, it was not until the 17  century that Chinese porcelain regularly entered

                   the European market.  The first interactions between China and the West were with the

                   Portuguese, who began importing large amounts of Chinese porcelain specifically for


                   Western trade.  When the Dutch overtook Portugal as the major traders of the Chinese

                   porcelain industry, that industry had already reached a massive level, exporting as many


                   as 6,000,000 ceramics in addition to filling custom commissions.  Porcelain became the

                   largest export out of Jingdezhen with wares reaching Europe, America, Africa, and

                   Australia in either direct trade or indirect trade. 187


                          As a result of European trade with China, tea was introduced to the West

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                   beginning in the mid-17  century.  Tea drinking quickly rose in popularity and became a

                   pastime associated with Western cultures.  The expense associated with purchasing tea

                   ensured that the drink was reserved for the wealthy, ultimately allowing for the act of


                   drinking tea to become associated with high social status in the West.  It was this

                   association that was projected onto porcelain from China, shaping the perception of the

                   object into a representation of wealth and affluence.  This practice is clearly visible in



                   186  William R. Sargent, Treasures of Chinese Export Ceramics from the Peabody Essex Museum
                   (Salem: Peabody Essex Museum, 2012), 3.
                   187  Li Zhiyan and Cheng Wen, Chinese Pottery and Porcelain (Beijing: Foreign Languages Press,
                   1984), 104.
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