The Development of Flambe Pottery
The term flambé is French which means "flaming.
" In pottery, this term refers to a crimson colored glaze slashed with flame-like streaks of purple or turquoise.
This distinct effect is caused by a method of firing pottery covered in a glaze containing copper.
Flambé pottery is mainly porcelain.
Despite the French term "flambé," the roots of flambé pottery can be traced back all the way to the other side of the world - China.
It was during the Ming dynasty between 1573 and 1620, during the reign of Wan-Li, that Chinese potters started making experiments with carbon oxide in glazes in order to attain a vivid, fiery red.
During the early years of the art, it was said that it was difficult to control.
Manufacturing procedures for flambé wares gained considerable development during the reign of Ch'ien-lung between 736 and 1796.
Flambé pottery was called ch'ui hung and it gained popularity for its beauty.
Ch'ui hung was one of three classes of wares with different shades of red glazes.
The other two were known as pingguo hong or "apple red" and duo hong or "bean red.
" The shade of red we know associated with what we call flambé used to be called "peach bloom.
" In France, flambé is also called sang de beouf, a French phrase meaning "ox blood.
" This is due to the distinct crimson marks on the pottery pieces that bore similarity to blood.
In 1894, hard-fired stoneware made in the Art Nouveau style decorated with flambé glazes were produced in Luneville, in the northeastern part of France.
At about the same time, another porcelain factory at Sèvres, located southwest of Paris, likewise produced wares with flambé glazes.
During the early part of the twentieth century, an English potter called Bernard Moore revived the process for creating pieces of flambé pottery in his works.
Other potters such as Royal Doulton, John Slater and Charles Noke also recognized the beauty of the craft and endeavored to revive it.
Equipped only with their limited knowledge of reproducing the effect of flambé, they conducted many experiments tirelessly for two years until they were able to come up with the results.
Their works were displayed at the St.
Louis Exhibition in 1904, gaining much admiration and praise.
Today, the skill associated with the making of flambé pottery has gained a wider appreciation - not to mention the unique beauty of the craft that has had its beginnings in the East and that has inspired the other half of the globe.
Many now admire the artistic appearance of the pieces.
Although flambé pottery from the time of the Ming dynasty are now very rare, other innovated Chinese flambé wares like Chung and Sung are held in high regard.
" In pottery, this term refers to a crimson colored glaze slashed with flame-like streaks of purple or turquoise.
This distinct effect is caused by a method of firing pottery covered in a glaze containing copper.
Flambé pottery is mainly porcelain.
Despite the French term "flambé," the roots of flambé pottery can be traced back all the way to the other side of the world - China.
It was during the Ming dynasty between 1573 and 1620, during the reign of Wan-Li, that Chinese potters started making experiments with carbon oxide in glazes in order to attain a vivid, fiery red.
During the early years of the art, it was said that it was difficult to control.
Manufacturing procedures for flambé wares gained considerable development during the reign of Ch'ien-lung between 736 and 1796.
Flambé pottery was called ch'ui hung and it gained popularity for its beauty.
Ch'ui hung was one of three classes of wares with different shades of red glazes.
The other two were known as pingguo hong or "apple red" and duo hong or "bean red.
" The shade of red we know associated with what we call flambé used to be called "peach bloom.
" In France, flambé is also called sang de beouf, a French phrase meaning "ox blood.
" This is due to the distinct crimson marks on the pottery pieces that bore similarity to blood.
In 1894, hard-fired stoneware made in the Art Nouveau style decorated with flambé glazes were produced in Luneville, in the northeastern part of France.
At about the same time, another porcelain factory at Sèvres, located southwest of Paris, likewise produced wares with flambé glazes.
During the early part of the twentieth century, an English potter called Bernard Moore revived the process for creating pieces of flambé pottery in his works.
Other potters such as Royal Doulton, John Slater and Charles Noke also recognized the beauty of the craft and endeavored to revive it.
Equipped only with their limited knowledge of reproducing the effect of flambé, they conducted many experiments tirelessly for two years until they were able to come up with the results.
Their works were displayed at the St.
Louis Exhibition in 1904, gaining much admiration and praise.
Today, the skill associated with the making of flambé pottery has gained a wider appreciation - not to mention the unique beauty of the craft that has had its beginnings in the East and that has inspired the other half of the globe.
Many now admire the artistic appearance of the pieces.
Although flambé pottery from the time of the Ming dynasty are now very rare, other innovated Chinese flambé wares like Chung and Sung are held in high regard.