18th Century Turquoise Glaze :
During the early 18th century a number of monochromes glazes were developed at the Jingdezhen kilns. Alkaline leadless glazes such as turquoise which uses copper as its colouring agent were popular, the copper colouring agent was referred to as `copper powder`, essentially a mixture of copper oxide and iron-rich clay. Porcelain stone of kaolinised type was used in the glaze, the highly siliceous nature of this porcelain stone helped control but not eliminate crazing. This turquoise monochrome glaze is translucent in nature and has a highly reflective surface making its appearance very lively. It was especially sort after in France, where by the second quarter of the 18th century, blue and white feel out of favour. The French often converted their imported Chinese turquoise monochromes into French objects by the addition of ormolu (high-carat gold in a mercury amalgam used coat to bronze). Sometimes several Chinese monochrome objects were incorporated into an ormolu base or object to make something totally European. Small turquoise glazed Budai figures were especially popular as they added a whimsical oriental flavour.
Guanyin is better known as the Bodhisattva Avalokitesvara in Indian and Tibetan culture. When Buddhism spread to China, not only was Avalokitesvara`s name changed to Guanyin, but after many centuries, the Bodhisattva was also transformed from a young enlightened prince to a feminine, even maternal, persona. (Click on the image for more information).