page_title: Orientalism in early modern France
section_title: Chinese porcelain
hierarchical_section_title: Orientalism in early modern France / Manufacture of "Oriental" luxury goods in France / Chinese porcelain
caption_attribution_description: English: Faience_with_Chinese_scenes_Nevers_Manufactory_1680_1700.
context_page_description: Orientalism in early modern France refers to the interaction of pre-modern France with the Orient, and especially the cultural, scientific, artistic and intellectual impact of these interactions, ranging from the academic field of Oriental studies to Orientalism in fashions in the decorative arts.
context_section_description: Chinese porcelain had long been imported from China, and was a very expensive and desired luxury. Huge amounts of gold were sent from Europe to China to pay for the desired Chinese porcelain wares, and numerous attempts were made to duplicate the material. It is at the Nevers manufactory that Chinese-style blue and white wares were produced for the first time in France, using the faience technique, with production running between 1650 and 1680.
  Chinese porcelain was collected at the French court from the time of Francis I. Colbert set up the Royal Factory of Saint-Cloud in 1664 in order to make copies (In the original "Contre-façons", i.e. "Fakes") of "Indian-style" porcelain.
  France was one of the first European countries to produce soft-paste porcelain, and specifically frit porcelain, at the Rouen manufactory in 1673, which was known for this reason as "Porcelaine française". These were developed in an effort to imitate high-valued Chinese hard-paste porcelain.
  France however, only discovered the Chinese technique of hard-paste porcelain through the efforts of the Jesuit Father Francois Xavier d'Entrecolles between 1712 and 1722. Louis XIV had received 1,500 pieces of porcelain from the Siamese Embassy to France in 1686, but the manufacturing secret had remained elusive. The English porcelain-manufacturer Josiah Wedgwood may also have been influenced by the letter of Father d'Entrecolles and his description of Chinese mass-production methods. After this initial period, until the end of the 18th century, French porcelain manufactories would progressively abandon their Chinese designs, to become more French in character.
caption: French adaptation: Blue and white eathenware with Chinese scene, Nevers faience, 1680–1700.
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