Unknown
Chinese, Ming dynasty
Large Plate expressing the Theme of Longevity and Good Fortune, 1600-1700 ce., n.d.
Swatow ware, porcelain with overglazed polychrome enamels
4 x 15 1/2 in. (diam.)
SBMA Museum purchase with funds provided by Peggy Maximus
2007.29
RESEARCH PAPER
For over 8000 years, China has been producing exquisite ceramics. The earliest ceramic ware was the unglazed earthenware produced by the Neolithic cultures of northern China. Earthenware is a low-fired ware. The next important step forward was the introduction of glazing which took place during the Shang dynasty (1599-1050 BCE). By glazing the object, it becomes impermeable. It was during the Tang dynasty (618-960 CE) that earthenware was superseded by stoneware, the first high-fired ceramic ware (1,200°C-about 1,300°C).
The richest period in the history of Chinese ceramics is the Song dynasty, which lasted from the mid 10th to the end of the 13th century (Northern Song 960-1126 CE; Southern Song 1127-1229 CE). It is commonly believed that the first true porcelain was produced in about the year 1000 CE in southern China at a kiln site known as Jingdezhen in Jiangxi province. Porcelain is made from two ingredients - kaolin, a white clay, and petuntse, a white feldspathic material known as Chinastone. [Feldspar is any one of several crystalline minerals composed of aluminum silicates, combined with varying proportions of fluxing agents such as soda, potash, lime etc.] When these two ingredients are combined in suitable proportions, glazed and fired at temperatures from 1,280°C upwards the object becomes very hard, normally white, vitrified and translucent.
The next important innovation in the history of porcelain is the introduction of underglaze painting on porcelain. The main difficulty in the decoration of porcelain is that there are only three coloring oxides able to withstand the high temperatures required to fire porcelain. One of these is cobalt oxide, which when fired produces a beautiful blue. During the Yuan dynasty (1279-1368 CE) cobalt oxide was imported from Iran and used to paint designs on the unfired body. The glaze was applied after the design had been painted on the object and the wares were then fired at temperatures between 1,280°C and 1,300°C. This process resulted in the creation of the blue and white Chinese porcelains that were admired throughout the world.
Polychrome overglaze decoration was introduced in the late 12th century or early 13th century. If bright colors are to be used for decoration on porcelain, this can only be achieved by the use of colored lead glazes. These glazes cannot withstand the high temperatures necessary for firing porcelain. To resolve this problem the object is fired first at the high temperature. After removing the object from the kiln, the design is painted on the surface with lead glazes and then fired a second time at the lower temperatures between 800° C and 900°C that can be tolerated by the lead glazes. The colors used were green from copper oxide, red from iron oxide and black from iron and magnesium. This process is referred to as overglaze polychrome enamels.
(Zhangzhou) Swatow Ware
(1570-1660 CE)
The export ceramics known as Swatow ware derive their name from an old port, known as Shantou in the north of Guangdong province. However, recent archeological research has proven that the porcelains were made neither in the vicinity nor exported from this port. After the discovery of kilns producing Swatow ware in the Zhangzhou prefecture of Fujian province, the name Zhangzhou has been more commonly used. It is believed that this type of porcelain was produced at several family owned folk kilns in the late Ming dynasty (1368-1644 CE) and early Qing (1644-1911 CE).
Swatow ceramics were produced mainly for export to Indonesia, Malaysia, the Philippines and Japan. Shards of Swatow have been found in the cargoes of Portuguese, Dutch and Spanish shipwrecks as well as at a castle and a temple in Japan. Yuegang is now regarded as the port of export. The production of Swatow was probably developed after the emperor Longquing (1567-1572 CE) lifted the trade bans and opened the port of Yuegang, permitting trade with foreign countries.
The porcelain is uneven in quality and heavily potted. Quite often, the Swatow dishes are warped. They are hand-thrown or molded. On almost all of the ware, and it is especially characteristic of the large dishes and plates, the foot-ring and glaze splashed base are spattered with grit off the floor of the saggar, indicating carelessness in placing the wares and setting the kiln. The dishes are both blue and white and polychrome overglaze.
This large plate is an example of Swatow type porcelain painted with polychrome overglaze enamels. A narrow circular band divided into segments, each containing a stylized image of a plant or flower, frames the central field. The scene shows a standing human figure and a large deer placed in a stylized landscape. The decoration, drawn in black outline and filled with a wash of cobalt blue, extends beyond the lines. The figure is shown in profile and appears to be carrying a basket that is filled with plants. The basket supports a flower shaped umbrella that extends above the figure. In one hand the figure carries what appears to be a branch and a small bird and in the other hand what appears to be a ruyi scepter. The large horned deer has turned to face the approaching figure. Decorations on Chinese porcelains often have symbolic meaning. The ruyi scepter is both a Buddhist and Taoist symbol of good fortune and the deer is usually a symbol for longevity.
The rim of the plate is decorated with a variety red diaper patterns. Diaper patterns are ancient Chinese geometric designs found on ceramics and bronzes. At the top, bottom and sides of the rim there are four Chinese characters: on the left side of the rim is jade (yu) which can mean beautiful, at the top of the rim is (chi) treasure, at the right (jia) good, fine, beautiful, and at the bottom is (tang) the hall or the main room of the house. "Hall of Beautiful Treasures."
Centered between the four Chinese characters are four motifs of stylized flowers. In typical Chinese style, they are shown as if viewed from above and paired with the similar design directly opposite. The motif in the upper left and the one in the lower right seem to display the same flowers, possibly a pomegranate, a chrysanthemum and a lotus. The image of the flying crane in the upper left is another symbol for longevity. The motif in the upper right and the one in the lower left contain similar flowers and small birds. Birds are very often associated with specific flowers.
The collapse of the Ming dynasty caused the production of Swatow to decline. Around 1660 CE the production came to an end.
Prepared for the Santa Barbara Museum of Art Docent Council by Queenie Scheurwater, 2009
Bibliography
Medley, Margaret, The Chinese Potter. 3 rd ed. London: Phaidon Press Limited. 1999
Rawson, Jessica, ed. The British Museum Book of Chinese Art . New York: Thames and Hudson, 1996, 212-274
Williams, C.A.S. Chinese Symbolism and Art Motifs. Charles E. Tuttle Company, Inc. of Rutland Vermont & Tokyo Japan, Fourth printing 1996
Websites
Gemeentlijk Museum Het Princesshof, Leeuwarden in the Netherlands. 19 Feb. 2009
http://www.aziatischekeramiek.nl/ak/ak/i004577.html
Koh-Antique.com , Singapore. March 8, 2009
http://www.koh-antique.com/swatow/swatow.htm