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This paper discusses the Chinese influence on Safavid ceramics by analyzing its techniques and designs and places it within the context of the multi-cultural environment of Safavid Persia during the seventeenth century.
Safavid ceramics have often been regarded as simple copies of Chinese porcelain and their artistic quality has seemingly been largely underestimated. As a result, due to the insufficient textual and material evidences, their chronology and their attribution to some production centres are yet to be established.
The Persian ceramic production during the first half of the sixteenth century is characterized by the strong continuity of both Timurid and Turkmen artistic styles. According to recent research, their main centres of production were probably Samarkand, Mashhad, Nishapur and Tabriz. The situation changed under Shah Abbas I, when the production of ceramics was transformed into a much larger industry, absorbing the new style trends introduced by the massive import of Ming export porcelains. However, by the end of the seventeenth century, Safavid potters introduced new styles of decoration with original Persian techniques such as luster or polychrome underglaze paintings.
The city of Kerman in the Safavid period is considered to be a major production centre for ceramics imitating Chinese porcelain. The city comprises several monuments such as Masjed Jame and Masjed Emam partly rebuilt or restored during the seventeenth century, and decorated with tiles made using underglaze painting techniques in cobalt on white ground. This type of tile is unusual for the contemporary mural decorative fashion in the Safavid period.
Both underglaze-painted tiles and potteries require careful production processes using the same materials, as well as brushstrokes of an expert hand to paint on a white surface. It has brush techniques in common with drawings and paintings. These features make Kerman blue-and-white tiles a more“pictorial”work than other tile techniques such as cuerda seca or mosaic tiles.
Potters of Kerman were probably involved in the making of tiles and showed great creativity by developing Chinese-inspired repertoires of design to fit into a much larger scale, such as the tile panel decoration in the Masjed Jame.
One of the characteristics of the Kerman tiles is the complete assimilation of individual Chinese motifs, recomposed to form an entirely original style, while they are expressed in a color scheme derived from Chinese porcelain. It is noteworthy that among the shards of pottery collected in Kerman during the survey of summer 2000, many blue-and-white Chinese wares from the Yuan to Late Ming were found alongside its Safavid imitations from the same site. The presence of these fragments predates the Safavids, and could explain the continuous interest and admiration shown toward the Chinese porcelain. It also throws light on the process of assimilation that continued throughout the Safavid period, despite the evolution of the Europeanized fashion of the Court in Isfahan during the seventeenth century.
Safavid ceramics demonstrate a great ability of assimilation of foreign artistic elements and succeeded in creating new styles by combining them with traditional techniques and local aesthetics.
Safavid ceramics have often been regarded as simple copies of Chinese porcelain and their artistic quality has seemingly been largely underestimated. As a result, due to the insufficient textual and material evidences, their chronology and their attribution to some production centres are yet to be established.
The Persian ceramic production during the first half of the sixteenth century is characterized by the strong continuity of both Timurid and Turkmen artistic styles. According to recent research, their main centres of production were probably Samarkand, Mashhad, Nishapur and Tabriz. The situation changed under Shah Abbas I, when the production of ceramics was transformed into a much larger industry, absorbing the new style trends introduced by the massive import of Ming export porcelains. However, by the end of the seventeenth century, Safavid potters introduced new styles of decoration with original Persian techniques such as luster or polychrome underglaze paintings.
The city of Kerman in the Safavid period is considered to be a major production centre for ceramics imitating Chinese porcelain. The city comprises several monuments such as Masjed Jame and Masjed Emam partly rebuilt or restored during the seventeenth century, and decorated with tiles made using underglaze painting techniques in cobalt on white ground. This type of tile is unusual for the contemporary mural decorative fashion in the Safavid period.
Both underglaze-painted tiles and potteries require careful production processes using the same materials, as well as brushstrokes of an expert hand to paint on a white surface. It has brush techniques in common with drawings and paintings. These features make Kerman blue-and-white tiles a more“pictorial”work than other tile techniques such as cuerda seca or mosaic tiles.
Potters of Kerman were probably involved in the making of tiles and showed great creativity by developing Chinese-inspired repertoires of design to fit into a much larger scale, such as the tile panel decoration in the Masjed Jame.
One of the characteristics of the Kerman tiles is the complete assimilation of individual Chinese motifs, recomposed to form an entirely original style, while they are expressed in a color scheme derived from Chinese porcelain. It is noteworthy that among the shards of pottery collected in Kerman during the survey of summer 2000, many blue-and-white Chinese wares from the Yuan to Late Ming were found alongside its Safavid imitations from the same site. The presence of these fragments predates the Safavids, and could explain the continuous interest and admiration shown toward the Chinese porcelain. It also throws light on the process of assimilation that continued throughout the Safavid period, despite the evolution of the Europeanized fashion of the Court in Isfahan during the seventeenth century.
Safavid ceramics demonstrate a great ability of assimilation of foreign artistic elements and succeeded in creating new styles by combining them with traditional techniques and local aesthetics.
목차
Ⅰ. 머리말
Ⅱ. 사파비朝(Safavid朝) 陶器의 개요
Ⅲ. 케르만(Kerman)에 대한 자료와 분석
Ⅳ. 맺음말
참고문헌
〈Abstract〉
참고문헌 (22)
참고문헌 신청
1. [단행본] - Canby, Sheila R / 1999 / The Golden Age of Persian Art 1501-1722 / The British Museum Press
2. [단행본] - Chardin, Jean / 1811 / Voyages du Chevalier Chardin, en Perse, et autres lieux de l’Orient / Le Normant
3. [단행본] - Crowe, Yolande / 1978 / A Preliminary Enquiry into Underglaze Decoration of Safavid Wares. in: Decorative Techniques and Styles in Asian Ceramics / Percival David Foundation of Chinese Art, University of London : 104 ~ 125
4. [기타자료] - Crowe, Yolande / 1979 / “Persian Variations on a Chinese Motif,”Faenza, Annata LXV, no. VI : 390 ~ 394
5. [학술지(정기간행물)] - Crowe, Yolande / 1979 / Aspects of Persian Blue and White and China in the Seventeenth Century / Transactions of the Oriental Ceramic Society 44 : 15 ~ 29
2. [단행본] - Chardin, Jean / 1811 / Voyages du Chevalier Chardin, en Perse, et autres lieux de l’Orient / Le Normant
3. [단행본] - Crowe, Yolande / 1978 / A Preliminary Enquiry into Underglaze Decoration of Safavid Wares. in: Decorative Techniques and Styles in Asian Ceramics / Percival David Foundation of Chinese Art, University of London : 104 ~ 125
4. [기타자료] - Crowe, Yolande / 1979 / “Persian Variations on a Chinese Motif,”Faenza, Annata LXV, no. VI : 390 ~ 394
5. [학술지(정기간행물)] - Crowe, Yolande / 1979 / Aspects of Persian Blue and White and China in the Seventeenth Century / Transactions of the Oriental Ceramic Society 44 : 15 ~ 29
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