Page 57 - Export Porcelain and Globakization- GOOD READ

Imari and Kakiemon were copied by Delft factories.
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Pic. 23: View of Delft by Johannes Vermeer (1632 – 1675)

Much of the million pieces produced disappeared because earthenware is easy to
break or damage. The Delft industry gradually declined during the 18th century due to
Chinese imports being available again and the competition created by real porcelain
made in Germany and later also by manufacturers in France and England. The Delft
and with it the whole European Faience industry disappeared in the early years of the
19th century and were replaced by porcelain and pearlware now produced in many
countries. Only one Delft company survived – the Koninklijke Porceleyne Fles (Royal
Delft) which still produces blue and white pearlware for decorative purposes. A
revival of the Faience technique took place in Austria in the first three decades of the
20th century when the Vienna manufacturer Goldscheider produced Art Deco
figurines.
Map 4 shows the locations of the main European ceramic centers producing China
and Japan inspired products in the 17th and 18th centuries. This includes the main
Faience production centers, Delft in the Netherlands, Rouen in France and Hanau in
Germany, the centers of soft-paste porcelain such as Chantilly in France and
Worcester, Lowestoft and Staffordshire in England. Meißen and Vienna were the two
main porcelain production centers in the first half of the 18th century, followed by
many manufacturers in Thuringia and north east Bavaria in the second half of the
century, and then by New Hall in Staffordshire. Other than French Faience, French
porcelain has not been so influenced by East Asian decoration. Map 4 also shows the
main import harbors and headquarters of the East Asia Companies. It is by no means a
coincidence that the countries and regions which have imported most of the Chinese
porcelain – especially Great Britain and the Netherlands – became also the major
production centers of China-inspired ceramics. Godden estimates that over 50% of
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British ceramics show an oriental influence . August the Strong, who actively
supported and financed the “oriental” porcelain producing Meissen factory, was at the
same time one of the biggest collectors of Chinese and Japanese porcelain in Europe.
Miles Mason who established factories in Liverpool and Staffordshire was an
important “china-man” – merchant of Chinese porcelain and wholesale client of the
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British EIC – before starting his ceramic production . He established the first factory
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