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Blue white porcelain Phoenix Head Flask Yuan Dynasty

Yuan Dynasty Blue and White Phoenix Head Flask

A 14th Century Yuan Blue and White Phoenix Head Flask drawn with  wings of phoenix features and scrolls of flowers enhancing the beauty of the flask.

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Ming Dynasty YungLo Blue and White Ewer

Ming Dynasty YungLo Blue and White Ewer

A completely covered painted with scrolls of flowers design blue and white all over the body of the ewer.

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Ming Dynasty Blue and White Red Stem Cup

Ming Dynasty Blue and White Red Stem Cup

Ming Dynasty – 15 Century  Cheng Hua Blue and White Underglazed Copper – Red decorated Stem Cup

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16th Century Ming Blue and white Jar

16th Century Ming Blue and white Jar

In the middle Ming Dynasty period during the 16th century, production and demand for porcelains had increased considerably. China porcelain’s barter
trade flourished.

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Early Ming Dynasty Blue and White Bowl

Early Ming Dynasty  Blue and White Bowl

15th Century Early Ming dynasty, Yung Lo Blue and White Ya Shou Pei with four character Yung Lo mark

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Tang Shape Blue and white Jar

Tang Shape Blue and white Jar

Early Blue and White Jar of a typical Tang shape. Note its rough attempt on the evolution of blue and white design and underglazed ware.

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How Chinese Blue and White Porcelain Was Manufactured

Production of ceramic wares and porcelain was carried out in a large number of centres throughout China of which the locations was largely determined by thel availability of suitable clays.

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Ming Dynasty vase in 5 colors

Ming Dynasty Wan Li (1573-1620) periods are usually fully covered with colourful patterns.

Ming Dynasty vase with open work decoration in five colors with phoenix design

Ming Dynasty vase with open work decoration in five colors with phoenix design

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Ming Dynasty Pottery Te-hua Ware Statue of Bodhidharma

One of the most interesting technical features of Te-hua porcelain of Ming Dynasty is pronounced translucency achieved in many Ming wares.

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Ming Dynasty Square vase Porcelain

Ming Dynasty 1368 – 1644

The last of the outstanding dynasties, the Ming was vibrant during its first half but racked with internal discord during its second. Scores of workers constructed the renowned Forbidden City, an imperial palace of staggering proportions and opulence. Ming leaders revived a sense of cultural identity and respect for traditional artifacts and craftsmanship. For example, bronze incense burners resembling those of the Shang and Chou dynasties were cast, and bright green and gold ceramic funerary objects recalled the T’ang. Three distinct schools of painting emerged: the Che echoed the formal approach of the Sung; the Wu consisted of, and appealed to, the intelligentsia; and the Eccentric fostered spontaneity and freedom of expression.

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