Four Chinese monochrome vessels 17th-19th centuries, consisting…
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Four Chinese monochrome vessels 17th-19th centuries, consisting of a vase of pouch form, covered in a thick yellowish-brown glaze with a broad guan-type crackle (18th/19th century), a pair of vases in yuhuchunping form with a white glaze with a ge-tye crackle (19th century), and a small bowl with blue exterior and brown dressing to the rim (17th century), the largest 15.5 cm high, 11 cm diameter. Provenance: The yellow vase purchased in Melbourne, 1958., the pair of vases purchased from Dr G.F.S. Davies, Melbourne, 1956., the bowl from 'The Hatcher Cargo', purchased from Moon Gate, Singapore, 1987.

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  • Crackles / Cracquelure - In ceramics, crackles may be introduced intentionally during the firing process, as was often the case with Oriental ceramics, and are known as artificial crackles. Natural crackles occur with age, and if the glaze is transparent, may be difficult to detect. Natural crackles may not cover the whole surface of the object and may be uneven in size.
  • Monochrome / Monochromatic - A painting or drawing finished in a single colour, or in different shades of a single color.
  • Crackling and Crackle as a Decorative Technique - Crackle, also known as crackling, is a decorative technique that has been used in China for centuries. It is believed to have originated during the Song Dynasty (960?1279 AD) and was primarily used in the production of ceramics, lacquerware, and furniture. The crackling effect was achieved by applying a glaze or lacquer that was formulated to crack during firing, creating a crackled pattern on the surface of the item.

    During the Ming Dynasty (1368?1644 AD), crackle became a highly sought-after decorative technique, and it was used to create intricate and beautiful designs on ceramics and lacquer ware.

    In Western decorative arts, crackle / crackling came into use during the Art Nouveau movement in the late 19th and early 20th century. The crackling effect was used to create a sense of movement and fluidity in the design of Art Nouveau pieces.

    It was also used in the 1920s and 1930s during the Art Deco movement.

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