JINGDEZHEN: WHEN THE WEST COPIED CHINA (2)

This is the second instalment of a three-part feature. I am telling the story of how Europe came to desire Chinese porcelain, and the ability to make their own. Here is part one.

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MALADIE DE PORCELAINE

After the opening of sea routes to China allowed large quantities of porcelain to be safely transported across long distances, European elites - those who could afford it - became obsessed. As I mentioned previously, it was at first a predominantly royal fixation - according to a disapproving Daniel Defoe, the craze for luxurious 'china rooms' in England was started by Queen Mary (1689-94):

"The custom or humour, as I may call it, of furnishing houses with chinaware, which increased to a strange degree afterwards, piling their china upon the tops of cabinets, scrutores, and every chimney-piece, to the tops of the ceilings...became a grievance in the expense of it, and even injurious to their families and estates." 

In the seventeenth-century, there was even a moralising backlash in Europe against what Samuel Johnson termed "a contagion of china-fancy." This was partly just another manifestation of exasperation at wanton decadence. 

But in an age of growing Puritan influence the hostility was sharper towards collecting porcelain, which, because of its rarity and exoticism, was used by the playwright William Wycherley to symbolise sexual intercourse.

In The Country Wife (1650), Wycherley has a female admirer entreat the libertine Mr. Horner, "...don't think to give other people china, and me none; come in with me too." The married Lady Fiddler interjects, "What, d'ye think if he had any left, I would not have had it too? For we women of quality never think we have china enough." Mr. Horner seems to be exhausted when he replies, "I cannot make china for you all." Anyway, you get the idea.

Europe's insatiable appetite for porcelain was first and foremost about conspicuous consumption, and the desire to signal one's elevated social status, particularly as the pressures of social change kept pressing - firstly the centralisation of absolute monarchs seeking to curb the autonomy of their aristocrats, secondly the ascendant merchant classes of the Industrial Revolution. In the midst of material change, traditional landed elites grew anxious about status-distinctions in society becoming blurred by the purchasing power of the nouveau riche.

This need was acutely felt in the seventeenth and eighteenth-centuries, when mercantilist doctrines - the belief that a nation's wealth was a function of its store of precious metals, and the protectionist measures that flowed from that belief - determined economic policies over much of the continent. Mercantilist monarchs asserted centralised control over industries with potential for growth, offering advantageous terms to entice new commercial ventures to set-up in capitals and major cities, where they would be more easily regulated. Urban populations grew as aristocrats and merchants alike congregated to ply for royal patronage. As Janet Gleeson observes in her magnificent 'The Arcanum: The Extraordinary True Story of the Invention of European Porcelain': "In such refined, moneyed surroundings there was clearly a ready market for new luxury products... Here was a golden opportunity. Porcelain was the white gold for which all of Europe cried out."

Oriental porcelain - and the cult of refined "taste" that went with it - seemed at first to serve this purpose of maintaining a visible hierarchy in a society that was being shifted about and shaken up. But for the European elites to have to depend for such a valuable prop on workshops in inland cities on the other side of the world was intolerable. In the bumpy transition from the Ming to the Qing dynasty in the first half of the seventeenth-century, the flow of export porcelain was temporarily suspended, and European consumers had to switch to inferior imitation porcelain from Japan and the Netherlands. 

Here is a pair of Kakiemon-style porcelain elephants (featured in Radio 4's A History of the World in 100 Objects) that would have been exported from Japan via the Dutch East India Company as a seventeenth-century substitute for Chinese exports:

On the one hand, constraints on supply served their purpose, by preserving its aura of exclusivity, but on the other hand it meant that monarchs and aristocrats competed against each other ever more fiercely to differentiate themselves.

More to the point, as time went on the porcelain trade became a one-way haemmorage of currency from Europe to China, and the source of a disconcerting balance of trade deficit. It was as if the trade was expanding to treat the symptoms of mercantilist economics whilst exacerbating the underlying condition.

What was needed was to get the means to produce porcelain for oneself. But only the Chinese knew how it was made, and - given its important function in their domestic politics - they had kept it a closely-guarded secret. Solving the mystery would require cunning, imagination - and espionage.

MASTERING DRYDEN'S "WORKMANSHIP OF HEAVEN"

There were many efforts to relieve this "maladie" before the first porcelain was successfully made in Europe. To begin with, all they had to guide their experiments were the vague and inaccurate reports from Western visitors to China. Marco Polo, who visited the court of Kublai Khan (1215-94) provided an early and misleading description:


"They collect a certain kind of earth, as it were from a mine, and laying it in a great heap, suffer it to be exposed to the wind, the rain and the sun, for thirty or forty years, during which time it is never disturbed. By this it became refined and fit for being wrought into the vessels." 

Even this was probably of more practical use than contemporaries who, by leaps of imagination, proposed that it was made from powdered eggshells, lobster shells, or ordinary clay buried for over a hundred years.

Commercial centres in Italy were amongst the first Europeans to attempt reproduction, in the sixteenth-century. The guiding hypothesis was that the hard and translucent properties of porcelain indicates compositional similarities with glass. Following this lead, Venetian traders in the sixteenth-century only managed to make a kind of cloudy glass. Their Florentine rivals managed to produce something more akin to a distant imitation by adding glass and sand to imported kaolin clay, but it would still have fooled no-one, and was unsustainably expensive to make.

Almost a century passed before the next serious attempts. In the 1660s, separate efforts by John Dwight of Fulham and the Duke of Buckingham yielded partial successes but were not followed-up with adequate financial backing. At the St. Cloud factory near Paris, attempts to imitate the Florentine formula yielded the surprising invention of "soft-paste" porcelain. According to Gleeson, "it was far finer than anything else that had so far been made" but was "still lacking the perfection of true porcelain."

In the seventeenth-century, potters in the Netherlands were mass-producing tin-glazed earthenware to take advantage of the political unrest in China that had halted their porcelain export. This 'Delftware' was a good surface imitation, but lacked the translucence that made real porcelain so desirable.

Here is an example of a blue-and-white Delft vase from the seventeenth-century:

Europeans would have to settle for making tin-glazed earthenware, stoneware and soft-paste porcelain - all somewhat lacklustre substitutes - until a twist of fate would bring together in their hands both the scientific knowledge and the practical know-how.

AN AREOPAGUS ON THE YANGZI

The first detailed description to reach the West of how the Chinese made their porcelain was contained in the letters of a French Jesuit priest called Pere Francis Xavier d'Entrecolles.

The role of the Jesuits in Chinese society is a curious anomaly. Amongst foreign visitors, they were granted unparalleled access to the hidden sanctums of state power. They won their special treatment by providing scientific and mathematical knowledge that was highly valued by the imperial court, such as astrological advice. But they also attained their status by conforming to Chinese cultural norms and downplaying features of Christianity that had no clear Chinese reference-points - so much so that they stood accused of heresy by rival orders, and were officially disbanded by the Pope.

Thanks to his status, Father d'Entrecolles was able to observe the porcelain production-lines at work during his travels around central China in 1698, and he inscribed what he saw in two letters, in 1712 and 1722. 

He denied that he was motivated by financial considerations: "Nothing but my curiosity could ever have prompted me to such researches, but it appears to me that a minute description of all that concerns this kind of work might, somehow, be useful in Europe." The second part of that sentence is something of an understatement.

I especially like the way that Father d'Entrecolles describes learning the secrets of porcelain-making whilst trying (and, like most Jesuits, probably failing) to convert the potters, painters and sculptors: "These great workshops have been for me a kind of Areopagus, where I have preached Him who fashioned the first man out of clay." He portrays a rationalised and restless industry, with over eight thousand kilns blazing day and night to meet the desired production: "The heavens are alight with the glare from the fires, so that one cannot sleep at night." Centuries before "Asian values" would be used to explain the competitive edge of East Asia, Father d'Entrecolles tells us that Christians are disadvantaged by the highly specialised division of labour:

"Within these walls live and work an infinite number of workpeople, who each have their allotted task, and a piece of porcelain, before it is ready to go into the oven, passes through the hands of twenty persons, and that without any confusion... This is very laborious work; those Christians who are employed at it find it difficult to attend Church; they are only allowed to go if they can find substitutes, because as soon as this work is interrupted all the other workmen are stopped."

He make some rather telling remarks about the international dimension of all this, noting that many European consumers who appreciated the porcelain but were disparaging about the painted designs were unaware that these designs had been sent over to China from Europe, perhaps because some particularly savvy merchants realised there was a market for unflattering comparisons: "Certain landscapes and plans of towns that are brought over from Europe to China will hardly allow us, however, to mock at the Chinese for the manner in which they represent themselves in their paintings."

The letters are also proof that the secrets of making porcelain were fought over as fiercely amongst the Chinese themselves, as they were between China and foreigners. We are told that the Kangxi Emperor (1662-1722) ordered the imperial porcelain manufactory to be transported to Beijing so that he could learn the secrets from firsthand observation.

The attempt failed, most likely because the producers chose to subvert the authority of the court. As I mentioned in the previous instalment, porcelain had an important function as a symbol of the Emperor's standing.  Although the Emperor had annotated diagrams, withholding from him the infinite subtleties and contextualised knowledge of production was in effect denying him the means to exert increased power across his territories from the centre.

This was taking place in the context of the Qing dynasty re-imposing Ming-era demands and controls on the industry after a brief, more experimental "transition period". The dynamics are reminiscent of the more unrealistic, utopian schemes attempted in China during the twentieth-century - social actors withheld information from the state as a way of resisting centralisation, but the resulting information-deficit only exacerbated the discconect:

"The history of Jingdezhen speaks of different pieces, ordered by the Emperors, that the potters have tried in vain to make. The father of the reigning Emperor ordered some boxes... They worked at these pieces for three consecutive years, and made nearly two hundred examples, not one of which was successful... These, said the old people of Jingdezhen, cannot be done, and the Mandarins of this province presented a petition to the Emperor supplicating him to stop his work."

As it happened, the earliest production of European porcelain would follow a strikingly similar pattern...

THE PHILOSOPHER'S STONE

There was one crucial problem with Father d'Entrecolles's letters - he got the days mixed up.  A court official of Dutch origin named Claudius Innocentius du Paquier had tried to recreate the Chinese process by following the letters, "but even after careful scrutiny of d'Entrecolles's descriptions and numerous painstaking trials, all his early attempts to make porcelain were dismally unsuccessful."

Despite these false starts, at about the same time, another European stumbled upon "white gold" whilst trying to make real gold. 

The story of the first real porcelain production in Europe is fascinating, and Janet Gleeson's book really brings the episode to life with a sense for historical drama.

Several years before d'Entrecolles's first letter, a brilliant and ambitious alchemist named Johann Frederick Bottger had persuaded Augustus II, King of Poland and Elector of Saxony, that he could use his knowledge of the 'arcanum' - the mythical formula for transmuting base metal into gold - to replenish the royal coffers. Augustus needed to find a way to fund Prussia's costly war with Sweden, but when Bottger failed to deliver the goods on time Augustus had him imprisoned indefinitely.

In 1705, he was transferred to Albrechtsburg, a royal castle overlooking Meissen, where he was allowed to experiment in a laboratory-cum-prison. Here is Albrechtsburg, otherwise known as the 'Saxon Acropolis':

At Albrechtsburg, Bottger collaborated with one of the king's councillors, a nobleman called Ehrenfried Walter von Tschirnaus. Tschirnaus was an expert in glass manufacturing, and he was convinced that glass held the secrets to making porcelain. Together, they began to focus on unlocking the secret.

Here is a short feature about Albrechtsburg, and Augustus's royal collection:

Although he learned a lot from his colleague, Bottger pursued a different strategy. As Gleeson describes it, his approach was both more 'modern' and more 'medieval' than Tschirnaus - he treated the problem of turning rock into porcelain as equivalent to that of turning lead into gold; the solution, as he saw it, was not to discover how porcelain was like glass, but to identify the precise ratios of the various ingredients that would yield the desired substance - and he "embarked on a series of carefully conducted experiments" to methodically ascertain the truth.

Here is a portrait of Bottger:

The crucial discovery was made in 1708, but it was not reported to the King for another year, by which time Tschirnaus had died, so history has tended to downplay his contribution.

Augustus was ecstatic - he was no different to his contemporaries in succumbing to "china-fancy." In his youth he had witnessed the extravagance of Versailles, and "under his rule Dresden metamorphosed into his own version of Louis XIV's splendid court." To showcase his achievement, in 1710 he transferred production to a factory in Meissen. But there were deep-seated contradictions between the King's desire to make the industry a commercial success, and to keep his monopoly on the "arcanum" of porcelain.

Arriving at the arcanum by a mixture of scientific method and imagination, it took time to get to grips with large-scale production. To begin with the factory was notoriously inefficient (Tschirnaus had called the Dresden kilns "bowls of chance").  More problematically, the entire organisation was conceived so as to minimise the amount of valuable knowledge accessible to any individual worker at any particular stage of production. As word of the 'miracle' at Meissen spread, the town became filled with spies hired by rival industrialists and foreign princes, and the factory became a virtual prison for its underpaid employees:

"Non-payment of wages caused obvious hardship and unrest among the hard-driven staff, who were still kept as virtual prisoners in the Meissen precincts and officially forbidden to come and go as they pleased. Forced to work for weeks, sometimes months, on end for no pay, they became audacious and lawless. On one occasion they ignored the usual restrictions and abandoned their jobs, marched to Dresden and confronted the King during his leisurely morning ride. On this occasion their wages were paid but they were not always so lucky."

Gleeson cites 'An Historical account of the British Trade over the Caspian Sea' (1752):

"In order to preserve this art as much as possible a secret, the fabric at Meissen...is rendered impenetrable to any but those who are immediately employed about the work, and the secret of mixing and preparing the metal is known to very few of them. They are all confined as prisoners, and subject to be arrested if they go without the walls; and consequently a chapel and everything necessary is provided within." 

Whereas d'Entrecolles had compared the factories at Jingdezhen to chapels, at Meissen the factory had really become a chapel...inside a giant prison.

This is the exterior of the factory (it even looks like a prison):

The segmented production meant that the workers often worked for years to acquire such specialised, context-specific skills that, even if they were free to leave, they would have few other options. But in case he had left them in any doubt, "Augustus inculcated the workmen with the fear that if they were discovered to have discussed what they knew with any outsiders they would suffer the severest punishments. Talking about porcelain-making was in Augustus's eyes tantamount to treason."

A more dangerous side-effect of fragmentation in the long-run was that the factory was riddled with corruption, top-to-bottom. Feeding the air of paranoia, it bred toxic rivalries between different sections of the factory. Workers supplemented their meagre incomes by smuggling out blank pieces, painting them in their homes, and flogging them on the black market. In response, Augustus ordered that all Meissen wares be stamped with an iconic pair of crossed swords, as a guarantee of quality (he did not live long enough to see it become one of the most faked logos in history).

On his deathbed Bottger was confronted with the dilemma of choosing a new "arcanist" to inherit his secrets: "The safest way to ensure that these secrets were secure was by sharing them among several trusted employees. Each would be taught part of the formula and no-one would fully understand, or be able to replicate, the entire process." So strong was the prevalent atmosphere of mistrust that, in the end,  his secrets only survived him because he had disclosed them whilst very drunk: "Bottger's porcelain-making genius had, in effect, died along with him. It was, ironically, largely thanks to his indiscretions that the secrets of his later discoveries were passed on at all."

Those "later discoveries" pertained to the most important stage of refining the process - producing porcelain that was equal to, or better than, that which was made in China. Unfortunately for Augustus, the recipient of this information was one of the several workers at Meissen who escaped and defected to his rivals. In his case, the rival in question was none other than du Paquier, the court official who had earlier tried to recreate d'Entrecolles's Areopagus, and whose factory in Vienna produced "the first piece of true European porcelain made outside Meissen" in 1719.

Augustus's ambitions only snowballed in the last remaining years of his life, even as the foundations of his pre-eminence were being eroded from within. Deciding that 'china rooms' did not befit a man of his stature, he called for the construction of an enormous "porcelain palace", to be made entirely - or to the greatest degree physically possible - of porcelain. A visitor in 1730 described his astonishment at the plans, which included a 'porcelain zoo', "of a hundred and seventy feet in length."

Here are some porcelain herons built for the zoo in 1732:

The King never lived to see the palace being built, and his son and heir Augustus III abandoned the project. But if he had survived into the late eighteenth-century, he would have seen the pre-eminence of Saxon porcelain pass, first to Vienna, then to France, and spread across the continent.

And this process of diffusion unleashed waves of innovation that would soon re-orient the pre-eminence of porcelain on a global level. 

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In the third and final part, I will explore how European porcelain came to outshine that of the Chinese. The focus will then return to China, examining how the imperial kilns at Jingdezhen preserved their political importance in the post-imperial era, and why traditional porcelain-making in China today is kept alive by the thriving market for fakes.

JINGDEZHEN: WHEN THE WEST COPIED CHINA (1)

Today, "Made in China" is often shorthand for poor-quality counterfeited goods. High up on the list of economists' prescriptions for China is the need for better enforcement of property rights, including intellectual property rights (IPR). In the public imagination, "Made in China" usually implies "Invented Elsewhere."

But there was a time when things were different. Four centuries earlier, China made something the leading powers of Europe craved but couldn't make by themselves. This translucent, vitreous material was known at the time as 'white gold' - porcelain.

I think it is worth going back and re-telling the story of the porcelain trade because it draws our attention to some interesting parallels with contemporary debates about globalisation, trade imbalances, and the nature and proper scope of IPR.

The inspiration for this post came from an exhibition Victoria & Albert Museum earlier this year, called Jingdezhen: Porcelain City. Jingdezhen is an administrative city in Jianxi province, and for many hundreds of years it has been the centre of Chinese porcelain manufacturing. Here is a scenic image of the city today, which gives some impression of its favourable surroundings.

And here is a photograph of its famous ceramic streetlight stands.

THE ROOTS OF A VERY MODERN MANIA

Chinese porcelain production matured as a craft in the Sung dynasty, with each worker supervised by a master craftsman, but the country was too divided for much of this period for the industry to achieve real growth - and the division in politics was directly reflected in the colour of porcelain produced, as in the saying, "jade-blue in the North, snow-white in the South." In the 13th-century Marco Polo informed Europeans of "porcellana" - the name of a hard, coloured shell from which porcelain derives.

A small quantity of porcelain was being exported to Europe in the early Ming dynasty. But aside from a few lucky royals, Europeans had to settle for imitation porcelain until new routes were discovered and in the 16th-century Portugal established a commercial outpost at Macao.

The evolution of 'Changnan' into 'Jingdezhen' indicates the close but subtle relationship between politics and commerce in imperial China. The city's modern name comes from suffixing "zhen" (or "town") to Jingde, the name of the Sung Emperor (968-1022). The Emperor's court sought to promote expansion of the porcelain industry and by doing so forged a lasting bond between industrial prestige and dynastic authority.

It really got going in a big way during the 17th-century. In 16th-century Europe, good-quality porcelain was confined to the ruling nobles of a few states; by the 17th-century its ownership had spread to the 'china rooms' of the well-off; and by the 18th-century porcelain could be found in the homes of the the middle- and working-classes.

The transition from the Yuan to the Ming dynasty heralded a shift in policy towards trade. The Ming were indigenous Han Chinese, whereas the Yuan rulers had been Mongol conquerors. Whilst the Mongols had always seen China as one part of their wider territorial responsibility, the priority of the Ming rulers was re-establishing domestic authority, and securing the borders.

The exclusivity of imperial porcelain was thus an indicator of the extent of the ruling dynasty's power, and its ability to exercise its authority across a vast empire. This symbolic function also played a part in the traditional Chinese tributary system of managing relations with other states. From 1405-33 the eunuch admiral Zheng He visited over thirty countries on seven voyages, on which the disbursement of gifts - including porcelain - was meant to express China's sophisticated crafts, strong government, and beneficent hegemony when it came to dealing with other countries.

But herein lies a curious paradox: the more the Ming rulers tried to regulate - and segregate - the production of porcelain for domestic and foreign consumption, by dispatching officials to control the process, the more that demand for "imperial" porcelain grew by association with the aesthetic taste of the Emperor, both at home and abroad. It was almost as if the rulers, by implicating themselves so deeply in regulating porcelain output, had made themselves into popular "brands."

And the aura of exclusivity this gave to porcelain made it ever-more sought-after by the noble families of Europe - because it increased its value for conspicuous consumption, by dividing the market into 'official' (guan yau) and 'unofficial' (min yau) porcelain, and by making the former harder to obtain. In an age of continuous power struggles amongst European monarchs, aristocrats and rising commercial classes, porcelain was not merely valued for aesthetic reasons, but also functioned as a potent symbol of personal wealth and importance.

Here is an example of this highly sought-after "armorial" porcelain, bearing the coat of arms of an influential European family - initially, most such families had connections with the British East India Company.

That is why China was dubbed the "bleeding bowl of Europe", and a scramble of all-against-all to acquire the finest porcelain got under way. The Portuguese were the first to dominate this trade, but then Dutch ships intercepted Portuguese trans-shipments of porcelain and proceeded to auction them off across Europe. By the late 17th-century, the Dutch East India Company alone were exporting 3m pieces of porcelain to Europe every year.
The traditional blue-and-white design that we associate with china today was in fact an example of the Chinese absorbing foreign influences to cater to new and growing markets. The demand for blue and white porcelain came from the Middle East especially, at a time when the Indian Ocean was under Arab control and the main land routes were via the Silk Road(s) to the East. Besides colouring, the feedback of Arab preferences inside China also fuelled demand for distinctive geometrical patterns and Islamic symbols. Over the centuries of major growth in the porcelain industry, blue and white porcelain arguably became the first example of something comparable to today's global brands.

This is a picture of a porcelain collection inside the Tokapi Museum in Istanbul, which houses over eight thousand Sung and Ming pieces.

And here is another collection inside the Ardebil Shrine in Iran.

And the Arabs in turn modified Chinese porcelain to be sold on to the Europeans. Common additions were golden frames and gilded edges. When you consider that this porcelain had usually already been encrusted with jewels by the Chinese for export to the Middle East, then perhaps the association of porcelain with Chinese "decadence" in the Western mind begins to make sense.

This is a porcelain-covered ceiling inside the Santos Palace in Lisbon.

Over the course of the Ming dynasty, porcelain exports declined in volume, whereas domestic production boomed, driven by strong demand from the imperial court (nevertheless, the majority of porcelain was made for export until the Qing period, and unofficial foreign trading tended to rise and fall). The rulers had to balance the need to increase official porcelain production for use in building alliances at home and abroad, against the imperative of upholding exclusivity. To do this, they co-opted the assistance of private kilns with imperial production by allowing private producers to sell any rejected pieces, so long as these didn't bear the mark of the reigning emperor - since only a few pieces in a hundred would receive imperial approval, this seemed like a good deal. Broken or unwanted items bearing the imperial mark were discretely buried (many such pieces were excavated at Jingdezhen in 1982).

CRACKS IN THE MOULD

As a result of this pact - increased investment and opportunities for profiteering, in return for an increasing level of bureaucratic control - the Ming era saw porcelain manufacturing in China reach new heights of scale and sophistication. Merchant investment had started to increase under the Mongols, but it was the Ming who - through the coordination of the Imperial Porcelain Factory - oversaw rapid growth in technical adaptability and outsourcing between official, domestic and export-oriented producers.  By the 16th-century, Jingdezhen had over a thousand kilns, employing seventy-thousand workers.

Here is a porcelain flask from the Ming dynasty, 1403-24.

By its end, the Ming dynasty was wracked by famine, peasant revolts, Manchu incursions, and a failed war against Japan. As these tensions came to a head, the contradictions at the heart of the collaboration between the imperial state and the porcelain industry erupted into the open. The imperial court demanded ever-increasing quantities of reproductions of ancient works, which was an especially labour-intensive process. The Ming dynasty looked to the past in matters of aesthetic preference, because being seen to revere the past was thought to be a roundabout way of patronising the 'literati' scholars who administered the state.

The multiple and conflicting goals of the Ming made for a combustible society. In his book The Search for Modern China, Prof. Jonathan D. Spence describes the scene on the production-lines at Jingdezhen in 1601:

"...thousands of workers rioted over low wages and the Ming court's demand that they meet heightened production quotas of the exquisite "dragon bowls" made for palace use. One potter threw himself into a blazing kiln and perished to underline his fellows' plight." (1999, p.15)

Imperial demand suddenly went from boom to bust, as the fading dynasty deemed further deliveries to Beijing to be too risky. Official kilns were razed in peasant revolts, and those that remained were closed in 1608. Official trade was suspended in 1647.

BETWEEN MING AND QING: COMING UP FOR AIR

Despite this destruction, the "transitional period" (ca. 1620s-1680s) between the Ming and Qing dynasties was a time of hugely important creativity, experimentation and decentralisation. Even when the war against the Manchu invaders reached Jingdezhen in the 1640s, porcelain production was sustained because royal workers shifted to producing unofficial wares in private kilns (the royal kiln at Jingdezhen was destroyed in 1675, but it was rebuilt within five years). Temporarily freed from the detailed interference imposed on them by the Ming, the workers were able to transfer their high-level knowledge and skills to creating new designs to appeal to overseas markets. These innovations included the so-called 'Dutch flower-and-leaf' pattern, and 'kraak' panels.

In 1684 the Kanxi Emperor officially re-opened access to the coast for trade. When the royal kilns reopened under the auspices of the Qing, the artists and producers struggled to reach a new settlement with the authorities. A notable characteristic of early Qing articles is that they do not bear their artist's name, a feature that would ease the way in making reproductions for sale, and that continues to this day to make Chinese ceramic art particularly susceptible to fraud (few pieces possess an ownership trail of recorded sales and attributed artists). In sum, the old imperial controls were re-asserted, but producers who had tasted the fruits of their free creativity - artistic and commercial - were more inclined to bend the rules, especially since overseas demand was still strong.

But even before the Qing dynasty confronted serious challenges to its authority, illegal trading and piracy became common occurrences in Chinese port-cities. This was increasingly so after European traders developed new technologies to overcome nautical constraints that had previously set limits on the regularity and size of trading missions. Demand was as strong as ever - arriving after the Portuguese had taken the first pick, the Dutch East India Company (VOC) complained about the undersupply of official porcelain.

The map below shows the main trading routes by which porcelain was shipped from Jingdezhen to the ports of Canton and Macao. It was a trade that involved taking enormous risks - European traders paid upfront for deliveries from trusted inland middlemen.

From subverting imperial prohibitions on maritime trade, it was just one step further for Chinese merchants to collude in the supply of reproductions to be sold in Europe as fake 'antique' wares - sometimes intentionally, but often in good faith. They also supplied a steady stream of low-quality unrefined (or 'provincial') porcelain, geared towards the mass market of low-earners, in an early example of price-discrimination, which helped to prepare the ground for mass-market porcelain production in 18th-century Europe.

Jingdezhen was industrially booming and experienced a large in-migration. But these developments also brought challenges to the political economy of the mid-Qing. According to Prof. Spence, "the area developed a population of "sojourners" with divided loyalties to their new base and their old ancestral homes, and of disaffected local minorities pushed off their former lands."

The point about adapting to niche markets (for instance, producing porcelain coffee and beer mugs long before these became popular in China), or even actively creating them, is important because all too often the history of Ming/Qing-era China's role in the emerging world economy is told in terms of "the West acts and China reacts." The story goes that China's rulers were complacent about their civilisational superiority and had no interest in what the rest of the world had to offer; consequently all the West could sell China in return for porcelain, tea, silk, etc. was silver, which they would use as currency to trade amongst themselves (though, as Kenneth Pomeranz has shown, it was actually utilised in a greater variety of ways than previously realised). The silver was mined in the Spanish Americas, sparking a transatlantic silver trade in the 1620s that lasted for two centuries.

Here is an illustration of a South American silver mine that represents the intensity of the enterprise.

But this account does not adequately recognise the ways in which the Chinese producers took the initiative in their trading relations with Europe, as they had incorporated Asian and Byzantine influences in an earlier period - for example, by pioneering the use of polychrome enamel decoration above and below the glaze in the late 17th-century, in order that the details on the European coats-of-arms were clear and precise, so as not to confuse two very similar designs.

At an even more basic level, the Eurocentric argument is a circular one: the Chinese emperors sought New World silver to facilitate an industrial-scale porcelain workforce, yet they were being driven by their state-systemic need to restrict the booming international porcelain trade - a trade which was booming because it had been proactively cultivated by both parties.

I will finish with this tantalising quote from the website of the Media Center for Art History at Columbia University:

"The manufacture of porcelain in China evolved over time into a highly specialized set of related crafts that together formed an entire industry...As demand continued to increase, porcelain production in China began to resemble a highly specialized, mass-production-style industry. A common view of the industrial revolution as it occurred in England in the 1750s is that the burgeoning textile industry was a key contributor to the complex interaction of various socioeconomic developments that led to that phenomenon; mentioned less often is the possibility that the porcelain industry, as it evolved in China, may have also contributed to this development."

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In the second instalment, I tell the story of how the Europeans used alchemy, espionage and imprisonment to access the secrets of making porcelain, and its importance in the context of the waning influence of the aristocracy.