Page 96 - The colours of each piece: production and consumption of Chinese enamelled porcelain, c.1728-c.1780

CHAPTER 2 The Production of Enamelled Porcelain and Knowledge Transfer

2.5. Interactions of Different Manufacture Sites

2.5.1. Beijing and Jingdezhen

From the point of view of enamelled porcelain production, the interaction between

Jingdezhen and Beijing was dynamic. A close chronological examination of the

exchanges between the court and Jingdezhen is therefore necessary. It is important to

note that Jingdezhen was the main supply of blank porcelain to the Imperial Workshop

for the second firing at enamel paintings. The Imperial Workshops Archives shows

detailed records that point to three key moments of this transition. These are dated to

1725, 1728 and 1729.

49
In 1725, the Director of the Imperial workshop in Beijing Hai Wang

reported that he sent two porcelain craftsmen [who originally came from

Jiangxi] back to Jiangxi and a porcelain painter was kept on. I have tried

50
his skill on enamel painting, he was quite good.

In 1728, the Director Hai Wang [in the Imperia Workshop at Beijing]

was ordered by the emperor Yongzheng to collect some enamel colours

and send them to Nian Xiyao [The supervisor of Imperial Kiln in

Jingdezhen] for producing enamelled porcelain at Jingdezhen. The

51
colours were: moon-white and yellow.

49 Haiwang was not only in charge of administration of household department, but he conducted
many drawing samples on lacquer, wood carving, and enamel painting.
50 The Imperial Workshops Archives, vol. 3, p.678.
51 Ibid. p.424.
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