Chinese white, a poetic term evoking immaculate purity and technical excellence, designates an exceptional category of Chinese porcelain of creamy white and incomparable finesse. These ceramics, which originated in the kilns of Dehua, in the Chinese province of Fujian, embody both mastery of the craft and spiritual refinement.
White China’ porcelain was first produced during the Song dynasty (960-1279), but it was under the Ming (1368-1644) and Qing (1644-1912) dynasties that it reached the heights of technical and aesthetic perfection. Located in the mountainous region of Fujian, the Dehua district has deposits of kaolin clay of exceptional quality. Kaolin, a key ingredient in the manufacture of porcelain, enables craftsmen to create delicately modelled objects of luminous whiteness.
Under the Ming dynasty, Dehua became a major centre of ceramic production, exporting its work to South-East Asia and, from the 17th century onwards, to Europe. Portuguese and Dutch merchants played a key role in introducing these pieces to the West, where they fascinated the European elite, who regarded them as exotic luxury items.
The signature of Blanc de Chine is its brilliant whiteness, the result of the exceptional purity of the local kaolin. Dehua's artists use a transparent, slightly creamy glaze that highlights the details of the modelling while imparting a unique softness and luminosity.
Religious figures, particularly those of the goddess Guanyin - the Bodhisattva of compassion - are a recurring theme in the production of Blanc de Chine. These sculptures, often created with meticulous care, exude an almost mystical serenity. As well as Buddhist figures, the ceramists produced refined utilitarian objects: bowls, vases, teapots and incense burners. The decoration is discreet, sometimes featuring floral motifs in bas-relief or symbolic elements.
The arrival of White China porcelain in Europe in the 17th century revolutionised the world of art and the decorative arts. Prior to this period, Europeans knew nothing about the secret of porcelain manufacture. Fascinated by the transparency and finesse of Chinese whites, kings and aristocrats collected them avidly.
The East India Company played a major role in the spread of porcelain, encouraging interest in the Chinese style. The pieces were sometimes modified in Europe, with the addition of gilded bronze mounts or Baroque decorative elements to adapt them to Western tastes. This intercultural dialogue gave rise to unique artistic hybrids, testifying to the adaptability and reinterpretation of Chinese craftsmanship.
Blanc de Chine also influenced European production, particularly that of the Meissen factory in Germany, a pioneer in the reinvention of porcelain in the 18th century, as well as the creations of Sèvres in France.
Interest in China White has never waned. Dehua ceramics are still being produced, combining tradition and innovation. Contemporary craftsmen, faithful to ancestral techniques, explore new forms and aesthetics while paying homage to the past.
This is where the expertise and assessment skills of experts like Jean Gauchet become crucial. Jean Gauchet, a recognised authority on Asian art, has played a decisive role in the authentication and valuation of Chinese white pieces. His expertise enables collectors and institutions to assess the authenticity and value of their ceramics with complete confidence. Jean Gauchet's involvement in the art world enhances the credibility of auctions and ensures that buyers and sellers can make informed decisions.
References :
Blanc de Chine, Les franciscaines Deauville, [en ligne], https://lesfranciscaines.fr/fr/programmation/blanc-de-chine
Au coeur de la couleur, Musée Guimet, [en ligne], https://www.guimet.fr/fr/expositions/au-coeur-de-la-couleur
Le blanc de Chine, des origines à sa diffusion en Europe : exemples de la collection Grandidier, Marie Planchot, Carnet de l'école doctorale, [en ligne], https://124revue.hypotheses.org/4778
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