Chinese export porcelain

Longquan celadon, which is mostly not porcelain on Western definitions, is one of the wares to produce large dishes that reflected Islamic dining habits, rather than the deeper bowls used by the Chinese.

In general, wares made for export, especially in the early periods, were "mainly strong and rather roughly-finished articles",[2] compared to those for the elite domestic market, to allow for the stresses of transport, and less sophisticated customers.

With the increasing reach of European trading companies, especially the Dutch VOC, this became possible, and eventually even specific armorial designs could be ordered from Europe.

Turkey's acquisitions of Chinese porcelain were sporadic and on a small scale before Sultan Selim I's conquests in Persia, Syria, and Egypt from 1514 to 1517.

The Chamber of Art and Curiosities at Ambras Castle contains the collection of Archduke Ferdinand II of Austria, assembled during the mid-16th century.

These early collections, typically of blue-and-white ware, were regarded as rare curios and art objects, and were often mounted in precious metals.

This group included Yixing stonewares, Blanc de Chine, blue and white porcelain, and famille verte, noire, jaune and rose.

[13] Under the Kangxi Emperor's reign (1662–1722) the Chinese porcelain industry, now largely concentrated at Jingdezhen was reorganised and the export trade soon flourished again.

[14] The massive increase in imports allowed purchasers to amass large collections, which were often displayed in dedicated rooms or purpose-built structures.

Writing from the city in 1712, the French Jesuit missionary Père François Xavier d'Entrecolles records that "...the porcelain that is sent to Europe is made after new models that are often eccentric and difficult to reproduce; for the least defect they are refused by the merchants, and so they remain in the hands of the potters, who cannot sell them to the Chinese, for they do not like such pieces".

[15] In the later 18th century, as European porcelain factories became established, there was more competition, and the quality of export wares declined, with many using fussy and over-elaborate shapes and decoration.

Thousands of services were ordered with drawings of individuals' coat of arms being sent out to China to be copied and shipped back to Europe and, from the late 18th century, to North America.

[16] Chinese potters copied the popular Japanese Imari porcelains, which continued to be made for export into the second half of the 18th century,[17] examples being recovered as part of the Nanjing cargo from the shipwreck of the Geldermalsen.

The bulk export wares of the 18th century were typically teawares and dinner services, often blue and white decorated with flowers, pine, prunus, bamboo or with pagoda landscapes, a style that inspired the willow pattern.

[30] In recent decades, modern porcelain production for export, mainly of basic household wares in contemporary styles, has increased enormously and once again become an important industry for China.