Period:Ming dynasty Production date:1573-1620
Materials:porcelain
Technique:underglazed
Dimensions:Height: 403 millimetres Width: 192 millimetres
Description:
Porcelain figure group of Guanyin standing on the head of a dragon emerging from waves with two fish. All details illustrated in underglaze blue. Rocks and bamboo at back of figure group. Base unglazed.
IMG
![图片[1]-figure BM-PDF-A.631-China Archive](https://chinaarchive.net/Ming dynasty/Ceramics/mid_00536526_001.jpg)
![图片[2]-figure BM-PDF-A.631-China Archive](https://chinaarchive.net/Ming dynasty/Ceramics/mid_00387131_001.jpg)
![图片[3]-figure BM-PDF-A.631-China Archive](https://chinaarchive.net/Ming dynasty/Ceramics/mid_00933339_001.jpg)
Comments:Published PDF date : Ming 16th century Room 95 label text:PDF A631Figure of GuanyinPorcelain production and the numbers of workers employed within the industry increased dramatically at Jingdezhen in the second half of the sixteenth century. To keep up with the vast demands, non-imperial kilns fired wares for the court on commission as well as for local customers and international trade. Potters made mostly blue-and-white porcelains. Workers mined new sources of inferior-quality clay. This clay had a less good fit with the glaze and is characterised by tiny frits (chips) where the glaze is thin such as the folds of the Guanyin’s robes.Porcelain with underglaze cobalt-blue decorationJingdezhen, Jiangxi province 江西省, 景德鎮Ming dynasty, Wanli period, AD 1573–1620 PDF A631觀音像十六世紀後半葉，景德鎮陶瓷生產及雇工數量均出現顯著增長。為了滿足廣大的需求，民窯在完成宮廷命燒的同時，也為當地消費者及國際貿易燒造器物。青花瓷器是主要產品。工人們開採了質量較低的新瓷土礦。這種瓷土與釉的結合度不太好，特徵為在釉薄處出現細微小崩，例如觀音的衣褶處。瓷器，青花江西省景德鎮明代，萬曆， 1573-1620年
Materials:porcelain
Technique:underglazed
Dimensions:Height: 403 millimetres Width: 192 millimetres
Description:
Porcelain figure group of Guanyin standing on the head of a dragon emerging from waves with two fish. All details illustrated in underglaze blue. Rocks and bamboo at back of figure group. Base unglazed.
IMG
Comments:Published PDF date : Ming 16th century Room 95 label text:PDF A631Figure of GuanyinPorcelain production and the numbers of workers employed within the industry increased dramatically at Jingdezhen in the second half of the sixteenth century. To keep up with the vast demands, non-imperial kilns fired wares for the court on commission as well as for local customers and international trade. Potters made mostly blue-and-white porcelains. Workers mined new sources of inferior-quality clay. This clay had a less good fit with the glaze and is characterised by tiny frits (chips) where the glaze is thin such as the folds of the Guanyin’s robes.Porcelain with underglaze cobalt-blue decorationJingdezhen, Jiangxi province 江西省, 景德鎮Ming dynasty, Wanli period, AD 1573–1620 PDF A631觀音像十六世紀後半葉，景德鎮陶瓷生產及雇工數量均出現顯著增長。為了滿足廣大的需求，民窯在完成宮廷命燒的同時，也為當地消費者及國際貿易燒造器物。青花瓷器是主要產品。工人們開採了質量較低的新瓷土礦。這種瓷土與釉的結合度不太好，特徵為在釉薄處出現細微小崩，例如觀音的衣褶處。瓷器，青花江西省景德鎮明代，萬曆， 1573-1620年
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![[Qing Dynasty] British female painter—Elizabeth Keith, using woodblock prints to record China from the late Qing Dynasty to the early Republic of China—1915-China Archive](https://chinaarchive.net/wp-content/uploads/2022/11/image-191x300.png)
