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