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During the 17th century, numerous blue and white pieces were made as Chinese export porcelain for the European markets. the Transitional porcelain style, mostly in blue and white greatly expanded the range of imagery used, taking scenes from literature, groups of figures and wide landscapes, often borrowing from Chinese painting and woodblock ...
Delftware forms part of the worldwide family of blue and white pottery, using variations of the plant-based decoration first developed in 14th-century Chinese porcelain, and in great demand in Europe. Delftware includes pottery objects of all descriptions, such as plates, vases, figurines and other ornamental forms and tiles. The style ...
This produced the superior white and hard porcelain for which Hirado wares became famous. [4] In the years following this, painters from the Tosa and Kanō schools were brought in, the former for detailed plant subjects and the latter for animal, figure and landscape subjects. They oriented the style of decoration towards a painterly "Japanese ...
Qingbai ("Blueish-white") glazed bowl with carved peony designs, Jingdezhen, Southern Song, 1127–1279 Early blue and white porcelain, c. 1335, the shape from Islamic metalwork. Jingdezhen porcelain (Chinese: 景德镇陶瓷) is Chinese porcelain produced in or near Jingdezhen in Jiangxi province in southern China.
It was created in a matter of months by the New York architect Peter Marino with a mixture of classical and modern elements. In the modern section, Japanese blue-and-white porcelain is presented on historic tables, in front of panels lacquered with anthracite grey and cinnabar. Marino carried out further redesigns in 2010. [3] [4]
The Transitional porcelain of about 1620 to the 1680s saw a new style in painting, mostly in blue and white, with new subject-matter of landscapes and figures painted very freely, borrowing from other media. The later part of the period saw Europe joining the existing export markets.