Page 42 - Export Porcelain and Globakization- GOOD READ
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                                  Pic. 19: Tea Party, Joseph van Aken (c. 1704 – 1749)






































                     Also  the  decoration  –  still  Chinese  –  became  friendlier  for  Western  eyes.  But
                   surprisingly, the same applied to the imperial ware made in Jingdezhen for the court
                   or for Chinese clients. The Famille Rose decorated items (“fencai” or “falangcai” in
                   Chinese) produced for the inner Chinese market look quite similar to those exported
                   abroad.  Of  cause  the  quality  differs  –  but  this  is  not  an  expression  of  a  differing
                   artistic view or tradition but  of a highly demanding client.  Another example is  the
                   “pavilion  and  river”  decoration  (see  plate  237)  –  imitated  in  the  factories  of
                   Staffordshire  and  Shropshire  as  “Willow”  or  Two  Temple”  pattern.  River  scene
                   decoration is a very common pattern in China also for the local market. Still, it has
                   been simplified for the European market and probably also customized according to
                   European “Chinoiserie” images. However, the export items are very close to the blue
                   and white river scene decorated pieces for the Chinese market. This is the true story of
                   all export porcelain. European costumers got used to Chinese décor but also Chinese
                   décor  changed  over  time  and  became  apparently  more  “Western”.  However,  the
                   notable  thing  is  not  that  Chinese  things  adopted  Western  style  and  Western  things
                   adopted Chinese style: what took place was a cross-cultural amalgamation and a new
                   global – or better Eurasian culture has been created.
                     3.2 The End of the Chinese-European Porcelain Trade
                     “Although  having  stepped  down  from  the  stage  of  history,  the  Thirteen  Hongs’
                   spirit of honesty and pragmatism, opening  up and tolerance as  well as daring has
                   been  handed  over  to  the  Guangzhou  people.”  (Plate  in  the  Guangzhou  Thirteen
                   Hongs Museum)
                     In the 19th century, the Chinese-European porcelain trade declined due to changing
                   tastes,  high  import  taxes  on  porcelain  and  the  fierce  competition  by  European
                   manufacturers. The production of blue and white copies had started in Delft and the
                   knowledge to produce true porcelain had been acquired first in Meißen, Saxony in
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