Page 47 - Export Porcelain and Globakization- GOOD READ

spread out to Europe and the US, and a new fashion – Japonism – influenced the
78
European Art Nouveau or Jugendstil . Samuel Siegfried Bing, a French German art
dealer, who travelled in Japan and facilitated the export of Japanese art through a
company in Yokohama, helped introduce Japanese design to Europe. He started
publishing in 1888 the journal Le Japon Artistique and opened in Paris a famous
79
gallery “Maison de L’art Nouveau”, which gave this new art movement its name .
Especially Scandinavian porcelain factories such as Bing and Gröndahl, Royal
Copenhagen and Rörstrand, but also the Dutch Rozenburg and the German Rosenthal
were under Japanese influence and developed elegant vases with flower or floral
decoration in the Japanese Kakiemon style, or imitating the design language of
cloisonné, lacquer ware or woodblock prints. Again, ceramics played their role in
transmitting oriental design to other places. Japanese Imari from Arita experienced a
rebirth in the 1860s and was shipped to Europe and the US in big volumes. In addition
to Imari style porcelain, Satsuma ware - multi-colored and gold enamel decoration on
ivory colored earthenware with transparent and crackled glaze – was exported abroad
80
(see plates 183-184) . The design of Satsuma ware has also influenced Bohemian
Art Nouveau ceramic producers such as Stellmacher and the Amphora Company in
Turn-Teplitz (see plate 274). In the late 19th century, Japanese porcelain producers
integrated into the international trade in a professional manner targeting mainly the
US and European markets with standardized Imari plates and vases (plate 178). The
Koransha Company established in 1875 by the Fukagawa family is one of the most
81
famous Japanese producers still operating today. New or reactivated kilns from the
Ishikawa prefecture (Kutani ware) or Nagoya (Noritake) have produced and exported
82
Western style and westernized Japanese products until 1940 . Japanese porcelain
decor became the second most influential Asian design on European ceramics after
the blue and white decor. However, Japan’s influence on European art – Impressionist
painting, European Art Nouveau furniture, glass, silver and copper works, architecture
and other applied arts - can’t be overstated. And still today, Japan’s influence on
creating a globalized sense of culture is quite obvious.
4.2 Vietnamese Ceramics
North Vietnam was part of the Chinese empire for about 1,000 years, from about
111 BC until 939, and again for a brief period between 1407 and 1427. Large
quantities of glazed and unglazed earthenware and some stoneware in
Chinese-inspired shapes were produced during the period of Chinese rule, mainly
during the time of the Han dynasties. The Chinese called the region Annam which
means the “pacified South” and Vietnamese ceramics are also often called Annamese
in English and Tongkinese by the Dutch, who traded this ware in the 17th century, due
to a mispronunciation of the name Hanoi which was then called Dong Kinh. The
ceramic industry of Vietnam blossomed during the independent dynasties of Ly
(1009-1225) and Tran (1225-1400). The early kilns of the Han dynasty were located
in the Vietnamese province of Thanh Hoa, later production shifted to the province of
Hai Hung in the east of Hanoi. Ly and Tran glaze colors fall into three types: ivory,
brown and a range of greens. Ivory colored glazes were the basic glaze of the Ly
period. The Vietnamese celadons are never bluish green or dark green like in China,
but more commonly yellowish or olive tinged. Other typical features are the
chocolate-brown dressing on the base and stack-firing marks in the interior. Especially
during the Tran dynasty, Vietnamese potters often used Chinese models, such as
Longquan ware which were exported to Vietnam during the Southern Song and Yuan
dynasty. In the late 13th or early 14th centuries Vietnam entered the export pottery
trade. The maritime “Spice and Silk Road”, linking the Chinese ports Ningbo,
46