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| Blanc de Chine |
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This early Qing dynasty censer, or incense burner, might have been used in a temple or on a scholar's desk.
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As enthusiasm progressed from grassroots interest to
an international scale, the kilns followed suit. Offerings ran the gamut,
from kitchenware to made-to-order exports. Buddhist or Taoist statues and
assorted everyday items, such as bowls, cups, jars, and pitchers, were
traded domestically and in surrounding Asian nations.
Although not impossibly rare, high-quality pieces
remain something of an enigma. Wood encourages collectors to work with a
ceramics expert or reputable dealer to investigate authenticity. "Verifiable age, good condition, and distinguishing seals or marks
are always preferred," he says.
| COLLECTOR'S CHECKLIST |
| Finding and acquiring blanc de chine is rarely a matter of estate sale bargain-hunting. "The market is filled with fakes, and many are remarkably close to the real thing," says Salvador Trabanino, collector of Chinese antiquities and "unofficial conservator" and researcher for Asiantiques in New Orleans. To weed out duplicates and knock-offs, remember these suggestions and field tests. |
| Examine the details: Clues abound in corners, creases, junctions, and the folds of figures' clothing. Inspect these nooks and crannies carefully. "Where the glaze collected in recesses, it should have the look of old Scotch tape," Trabanino says. |
| Bring a flashlight: Literally. Quality blanc de chine exhibits a shrimplike translucence when exposed to direct light. And, the reflected tint can approximate the porcelain's age. "With early 17th-century pieces, the light appears orange. The light is yellowish on 18th-century examples, and later 19th-century pieces give off white light," says Trabanino. |
| Tickle the ivories: The sumptuous, ivory patina so often associated with blanc de chine is no guarantee of great age. "The tone can be easily copied or imitated," Trabanino says. Thermoluminescent testing, though expensive and somewhat invasive, is a much more accurate dating method for ceramics. |
| Never forget a face: "Watch for small mistakes in iconography or facial expressions," Trabanino says. For example, true Guanyin figures, which depict the Buddhist goddess of mercy and were produced in great volume, should have lowered or half-closed eyes and a peaceful forbearance. |
| Take a peek inside: Initially, technology did not afford finite control of the kilning process. "In the 17th and early 18th centuries, the walls of the porcelain were very thick, with cracks on the inside, due to firing difficulties. The problem was eventually corrected, and later pieces are hollow with thinner walls," says Trabanino. |
| Make it personal: Beware of any instance where offerings cannot be inspected. Private collectors and trade shows are among the more reliable sources of blanc de chine. "With online auctions, you cannot be sure what you're getting," Trabanino says. "It is best to work with a reputable gallery." |
| EVOLUTION OF THE KILNS AT DEHUA |
| A thousand-year history of ceramics production distinguishes the Dehua region of Fujian Province in southeast China. Through decades and centuries, kiln design and technology improved, affording artists more control of firing temperatures and methods. The result? Porcelain of great distinction -- including the area's hallmark, blanc de chine. Here are notes on the types of kilns used at Dehua. |
| Beehive kilns: An older form, named for its resemblance to a brick beehive. A ceiling flue and ventilation damper allowed some temperature control. Pieces were stacked within, above a coal-fueled fire. A comparatively small apparatus at 10 feet high, the beehive could not hold as much stock for firing as later designs. |
| Long kilns: An especially ancient form, consisting of single or multiple firing chambers. Heat was channeled among the sections, circulating more efficiently than in beehives. Thick-walled and wood-fired, long kilns also reached higher temperatures (yielding better porcelain) and held more pieces than beehive kilns. |
| Step kilns: Also known as dragon or snake kilns, this form appeared during the Song dynasty. Long and chambered, they were built into hillsides to make the most of rising heat. Easy to regulate, these kilns offered fast heating and great firing capacity (up to 25,000 pieces). The zenith of timber-fired designs, step kilns remained in use through the 1960s, when electric models replaced them. |
| SOURCE: Blanc de Chine: The Great Porcelain of Dehua |
RESOURCES: All porcelain is from the collection at
the Birmingham Museum of Art, Donald Wood, chief curator and
curator of Asian art,
205/254-2565, artsbma.org; Salvador Trabanino, Asiantiques,
504/588-9602, asiantiques.com.
RELATED READING
· Blanc de Chine: The Great Porcelain of Dehua, by Robert H. Blumenfield
· Blanc de Chine: Porcelain from Dehua, by Rose Kerr and John Ayers |
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