These stamps are used for on-glaze enamel decorations on porcelain sculptures.
Shards for sale at the Monday morning antique market in Jingdezhen. These shards are typical of the market, representing a variety of authentic and imitation wares from a variety of time periods and kilns.
It can be surprising to wake up to the tune of “When the Saints go Marching In” in a small town in China. Bands such as this one play to the accompaniment of firecrackers during travelling wakes for the dead.
Traditional wood-fired roof tiles being made by compressing slabs around a conical mold. After joins are compressed and the rough edges sliced off, the cylinder is removed and stacked with others to dry. The fired roof tiles below display the variegated colors typical of wood firing.
The Tian Bao dragon kiln in the countryside outside Jingdezhen. During firing, wood is inserted into the side stoke ports. The stoneware clay used at Tian Bao comes directly from the surrounding fields.
The remains of revolutionary ceramics in an abandoned factory in Jingdezhen. The hand once belonged to Mao Zedong, while the Chinese character “忠” means loyalty.
Examples of some of the low-temperature on-glaze enamels available in Jingdezhen. To generalize, each of the main types of on-glaze—gucai (or wucai, famille verte), fencai (famille rose), and xincai (“new” or “Western” colors)—are representative of different historical periods in Chinese ceramics (respectively: late Ming/transitional, Qing, and Republican). And although each of these types might traditionally only use a limited color palette (for instance wucai means “five colors” but initially included only red, green and yellow enamels), there exist a tremendous amount of variation in color throughout history and in the shops of Jingdezhen.
Another example of Jingdezhen ingenuity. A motorized bicycle made by a local craftsman. Two separate chains attached to the rear wheel allow for pedaling or motoring.
Repairing the rim of a large porcelain pot. The damaged area is first wetted, and then successive layers of porcelain slip are brushed on. The hair-blower dries the slip in order to prevent cracking.
Below this you can see the line from where the thrown upper and bottom halves of this pot have been joined.
Craftspeople in Jingdezhen often work from photographs and illustrations. Here it appears as if a nice large vase was spotted in a Jingdezhen shop and is now being copied in another studio. Throughout history, Chinese ceramics has been based on an interplay of imitation and innovation. In modern Jingdezhen imitations are the norm, unfortunately the level of craftsmanship rarely matches that of the ancient originals.
A “double happiness” paper cutting taped onto a door in the old city center of Jingdezhen. In these old houses many examples of folk craft, from handmade stools and baskets to adornments such as this one, can still be found.
A pile of porcelain hands in an abandoned workshop in the Sculpture Factory. Most of these hands were for likenesses of Mao Zedong and other revolutionary-themed sculptures.
A pile of discarded porcelain seconds outside a workshop in Jingdezhen. The sign on the door advertises straw packaging for ceramics shipping.
A typical scene in the Jingdezhen Sculpture Factory. Porcelain figures of this scale and complexity are especially difficult to produce. In the foreground is a wheeled cart used to transport sculptures between workshops during production.
After the subject is modeled in clay, the model is broken apart into pieces from which plaster molds are made (e.g. arm, hand, finger). Once the plaster molds are dry, slabs of specially formulated porcelain are pressed into the molds. These clay parts are then joined together with slip, a delicate operation in which timing is essential. Often the joins crack during drying and must be carefully repaired with a mixture of dry porcelain powder, water, and slip. Once the final porcelain figure is completely dried it can then be sprayed with glaze, usually a transparent-white glaze that will make the porcelain appear whiter than it actually is. The porcelain sculpture is then fired in one of the Sculpture Factory’s large public kilns in reduction atmosphere at a temperature of around 1310-1330 degrees Celsius. Sometimes sculptures will not survive the firing, and very often those that do will have cracks along the join lines. After high-firing the sculpture must still be painted in brightly-colored overglaze enamels and fired in a large enamel kiln (these days, electric) to red heat, approximately 800 degrees Celsius. Finally, any remaining cracks or other faults are hidden by fillers and pigments to match the color.
Each step of the above process, from modeling to firing, is carried out by one or more specialist craftspeople. A single sculpture passes through dozens of hands before completion, even including professional carriers who transport the object from workshop to workshop. The Sculpture Factory itself is a highly specialized ecosystem that has evolved its own techniques and materials (including specially-mixed porcelains) specifically for the large-scale production of porcelain sculpture.