SECTION 2
CULTURAL EXCHANGE IN PORCELAIN
The long-term prosperity of maritime trade, combined with continuous interaction between China and Western porcelain industries, greatly enriched the cultural value of ceramics, showcasing a history of social, civilisational, and cultural fusion across the oceans. Portugal and the Iberian Peninsula have a long tradition of pottery, and the prosperity of the Mediterranean trade led to the wide circulation of ‘lustreware’ – tin-glazed earthenware with a metallic sheen – which became a predominant style in Portuguese pottery at the time. Another variety, a simple tin-glazed white pottery, reached its peak in popularity in the 17th century, influenced by Chinese blue-and-white porcelain.
Portuguese potters extensively used blue decorations, striving to replicate distinctive Eastern motifs – landscapes, figures, pavilions, flora, and fauna – inspired by Chinese kraak porcelain styles. These explicit elements of Chinese culture profoundly influenced the aesthetic tastes of Portuguese pottery. By the 18th century, the iconic colour scheme of Chinese blue-and-white porcelain was widely adopted in the decorative themes of Portuguese tile paintings, and extended to architectural ceramics.
European countries were keen to incorporate Chinese artistic styles into their ceramic production, while Chinese porcelain manufacturers adapted their productions to meet European market demands. Between the 17th and 19th centuries, the production of custom porcelain in Europe reached its zenith, with Chinese artisans incorporated their interpretations of the West into the designs of exported porcelain. During this period, the forms and decorative styles of the porcelain reflected the unique characteristics of Sino-Western cultural integration.
Guangcai porcelain, created in the 18th century, exemplifies this fusion: local artisans developed their pieces based on the needs of foreign merchants, combining Canton’s painting techniques with the blank Jingdezhen porcelain transported to Canton. This expansion of China’s porcelain production centres, adapting to overseas market demands, established a new trade model. It involved both decorating and selling porcelain in bulk outside the traditional production areas.