Page 242 - The colours of each piece: production and consumption of Chinese enamelled porcelain, c.1728-c.1780
P. 242

CHAPTER  6  A  New  Context  of  Porcelain  Trade  1760-1770


                        would  need  at  least  1300  degree  of  kiln  temperature.  It  was  only  the  potters  at


                        Jingdezhen who were capable of producing blue and white in the large dragon kiln.

                            However, for the production of enamelled wares, Canton did have advantages.


                        Since  it  was  one  of  the  main  centres  of  enamelled  copperwares  in  contemporary

                             57
                        time,   it  is  reasonable  to  assume  that  local  craftsmen  who  were  copper  wares
                        producers and painters subsequently experimented with painting enamel on porcelain


                        and fired in a muffle kiln, which they used to fire copperware in the 1750s.

                            Due to the lack of materials, it is impossible to estimate how many workshops


                        were established in Canton during the second half of the eighteenth century. However,

                        the  fragmented  evidence  from  archival  records  in  the  later  period  of  the  1770s


                        suggests that porcelain dealers were key players in setting up the manufacture. As the

                        1772 VOC supercargo mentioned, ‘completely white pieces are in order to be painted

                                      58
                        here (Canton)’.   In year 1778, the English supercargo reported to the EEIC’s court

                        directors:


                                   The  China  ware  merchant  with  whom  we  have  contracted  for  the

                                   investment of next year acquainted us that he had received letters from the

                                   place where it was manufactured that it would not be possible to glaze the


                                   tops of the milk pots and sugar basins, nor to have large mugs, bowls and

                                   fruit dishes ribbed; moreover, they apprehend it will be very difficult to


                                   make the patty pans exactly according to the pattern sent out, as we are

                                   convinced that no persons is more capable and that he will do his utmost


                                   to  complete  his  contract  to  our  satisfaction.  We  have  no  thought  of





                        57    Shi  Jingfei,  Riyue  guanghua:  Qinggong  huaflang  [Radiant  Luminance:  The  Painted
                        Enamelware of the Qing Imperial Court], (Taipei: National Palace Museum, 2012), pp.177-179.
                        58   Jörg, Porcelain and the Dutch Trade, p.126.
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