China A
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Delft:
into on
Visual
Translation
C L A R E L E C 0 R B E I L L E R AssistantCuratorof WesternEuropeanArts
is exhilarating; it pleases, it informs, it challenges. Novelty came to Holland in I604 in the form of an estimated Ioo,ooo pieces of blue and white Chinese porcelain taken off the captured Portuguese carrack Catharina.Such a quantity of porcelain had never been seen in Europe. Until then, only a few celadons and blue and white pieces had, from 1338, enriched the collections of royalty and the nobility. Highly admired, these were often elaborately mounted in silver gilt, like a group of Wan-Li pieces in the Museum, traditionally said to have belonged to Queen Elizabeth's favorite, the Earl of Essex. In the sixteenth century some few dozen blue and white porcelains painted to order document the first direct contact between Portugal and China in I5I7 and a subsequent unofficial trade. Italy, advantageously linked by her seaports to the Levant, was most familiar with the porcelains of the Near and Far East, and both Islamic and Oriental traditions are evident in the earliest surviving Western imitations of blue and white wares, made in Florence between I575 and I587 (Figure i). But these were isolated occasions; Oriental porcelain remained an exotic, enviable rarity. The sudden appearance of an "untold mass of porcelain of all kinds" in I604, and its dispersal by auction in Amsterdam set off a reverberation that echoed for two centuries. On the one hand it stimulated a traffic in porcelain which, in just the short period between that year and 1657, brought well over three million pieces of porcelain to Holland -an extraordinary amount in proportion to the population. And on the other hand it set off an equally lively industry of domestic imitations. For at first, from about I640 to I660, the blue and white wares of the Delft factories NOVELTY
were quite literally imitative: the potters were too uncertain of their material (tinglazed earthenware,a rough and ready substitute for hard-pasteporcelain) and too ignorantof Orientaldesignto stray very far from their models. Despite their limitationsthe effect of the Dutch waresis often surprisinglypersuasive. Were they, in fact, meantto be so persuasive as to deceive? Acknowledgingcertain commercial motivations, they probably were. Enthusiasmfor Orientalblue and white was such that everyone wanted it, and despite the enormousquantitiesarrivingin Holland therewereyearswhenshipsand theircargoes were lost at sea, and years-sometimes many together-when negotiations between the Dutch and Chinese merchantsbroke down and no porcelain was either ordered or shipped.Locally producedwares that satisfied the visual requirements(and perhaps, not so incidentally,the table customs)of the Dutch were thereforein demand,and insofar as they weremeant to fool the eye they were indeed deceptive. But the deception could only have been superficial.A closeinspection of these optical illusionsof the mid-seventeenth century revealsa number of divergences,quite apartfrom the obviousones of certain shapesunknownin the Orient: the all-importantdifferenceof the materialitself, irregularcontrol of the tones of blue and white, unevenness of glaze and painting, overcontrastingoutline drawing, and- ultimate innocence- the Dutch potter's own mark. (Chinesemarks,it is true, were often imitated or paraphrasedin Europe, as in Figure6. Therewascertainlyampletradition for the practice,sincethe Chinesethemselves frequently employed the reign mark of an earlieremperorout of venerationfor the ex269
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