Chinese porcelain in the context of "Dehua porcelain"

Iznik pottery, or Iznik ware, named after the town of İznik in Anatolia where it was made, is a decorated ceramic that was produced from the last quarter of the 15th century until the end of the 17th century. The Ottoman Turkish motivation for creating İznik ware was to imitate the prestige and symbolic value of Chinese porcelain, not its specific decorative designs. While their conceptual origin lies in Chinese blue-and-white porcelain, their decorative design is a distinct Ottoman adaptation of the International Timurid style. This adaptation is marked by a transformation from the prototype's languid quality to a more forceful and contained design, distinguished by its intensity and three-dimensional feel. Technologically, these wares are unique, differing from the methods used for contemporary Iranian pottery and Ottoman architectural tilework. This distinct manufacturing process is thought to be an invention of Anatolian potters.

İznik was an established centre for the production of simple earthenware pottery with an underglaze decoration when, in the last quarter of the 15th century, craftsmen in the town began to manufacture high quality pottery with a fritware body painted with cobalt blue under a colourless transparent lead glaze. The change was almost certainly a result of active intervention and patronage by the recently established Ottoman court in Istanbul who greatly valued Chinese blue-and-white porcelain.

A guang or gong is a particular shape used in Chinese art for vessels, originally made as Chinese ritual bronzes in the Shang dynasty (c. 1600 – c. 1046 BCE), and sometimes later in Chinese porcelain. They are a type of ewer which was used for pouring rice wine at ritual banquets, and often deposited as grave goods in high-status burial. Examples of the shape may be described as ewers, ritual wine vessels, wine pourers and similar terms, though all of these terms are also used of a number of other shapes, especially the smaller tripod jue and the larger zun.

The guang has a single thick foot, and a thick hollow body that represents one or more stylized animals (some have a head at both ends). Guangs have a vertical handle at one end and a spout at the other, both zoomorphic, and were often highly decorated with taotie. The handle of the guang is of often in the shape of the neck and head of an animal with stylized horns, and the spout of the vessel is in the form of the head of a creature whose mouth constitutes the end of the spout. The back and animal head at the pouring end usually are a removable lid, lifted off for pouring.

Fritware, also known as stone-paste, is a type of pottery in which ground glass (frit) is added to clay to reduce its fusion temperature. The mixture may include quartz or other siliceous material. An organic compound such as gum or glue may be added for binding. The resulting mixture can be fired at a lower temperature than clay alone. A glaze is then applied on the surface.

Fritware was invented to give a strong white body, which, combined with tin-glazing of the surface, allowed it to approximate the result of Chinese porcelain. Porcelain was not manufactured in the Islamic world until modern times, and most fine Islamic pottery was made of fritware. Frit was also a significant component in some early European porcelains.

The rock and wave design or motif is found painted on the outer borders of some Asian ceramics. It originated in Chinese porcelain of the Yuan dynasty (1271–1368) and was later very often used in Iznik pottery and other Turkish ceramics. It represents turbulent waves breaking onto rocks, which are generally depicted as a regular pattern with a considerable degree of stylization, especially in Turkish examples. It is normally in blue and white, even where other parts of the piece use other colours.

The "rocks" are represented by blue spiral lines on a white background, and the waves by irregular shapes in white, sometimes with lines within them.

Cobalt blue is a blue pigment made by sintering cobalt(II) oxide with aluminium(III) oxide (alumina) at 1200 °C. Chemically, cobalt blue pigment is cobalt(II) oxide-aluminium oxide, or cobalt(II) aluminate, CoAl₂O₄. Cobalt blue is lighter and less intense than the (iron-cyanide based) pigment Prussian blue. It is extremely stable, and has historically been used as a coloring agent in ceramics (especially Chinese porcelain), jewelry, and paint. Transparent glasses are tinted with the silica-based cobalt pigment "smalt".

Chinese export porcelain includes a wide range of Chinese porcelain that was made (almost) exclusively for export to Europe and later to North America between the 16th and the 20th century. Whether wares made for non-Western markets are covered by the term depends on context. Chinese ceramics made mainly for export go back to the Tang dynasty if not earlier, though initially they may not be regarded as porcelain.

It is typically not used as a descriptive term for the much earlier wares that were produced to reflect Islamic taste and exported to the Middle East and Central Asia, though these were also very important, apparently driving the development of Chinese blue and white porcelain in the Yuan and Ming dynasties (see Chinese influences on Islamic pottery). Longquan celadon, which is mostly not porcelain on Western definitions, is one of the wares to produce large dishes that reflected Islamic dining habits, rather than the deeper bowls used by the Chinese. In general, wares made for export, especially in the early periods, were "mainly strong and rather roughly-finished articles", compared to those for the elite domestic market, to allow for the stresses of transport, and less sophisticated customers.

Tin-glazed pottery is earthenware covered in lead glaze with added tin oxide which is white, shiny and opaque (see tin-glazing for the chemistry); usually this provides a background for brightly painted decoration. It has been important in Islamic and European pottery, but very little used in East Asia. The pottery body is usually made of red or buff-colored earthenware and the white glaze imitated Chinese porcelain. The decoration on tin-glazed pottery is usually applied to the unfired glaze surface by brush with metallic oxides, commonly cobalt oxide, copper oxide, iron oxide, manganese dioxide and antimony oxide. The makers of Italian tin-glazed pottery from the late Renaissance blended oxides to produce detailed and realistic polychrome paintings.

The earliest tin-glazed pottery appears to have been made in Iraq in the 9th century, the oldest fragments having been excavated during the First World War from the palace of Samarra about fifty miles north of Baghdad. From there it spread to Egypt, Persia and Spain before reaching Italy in mid-15th century, early Renaissance, Holland in the 16th century and England, France and other European countries shortly after.

Hard-paste porcelain, sometimes called "true porcelain", is a ceramic material that was originally made from a compound of the feldspathic rock petuntse and kaolin fired at a very high temperature, usually around 1400 °C. It was first made in China around the 7th or 8th century and has remained the most common type of Chinese porcelain.

From the Middle Ages onwards, it was very widely exported and admired by other cultures and fetched huge prices on foreign markets. Eventually Korean porcelain developed in the 14th century and Japanese porcelain in the 17th, but other cultures were unable to learn or reproduce the secret of its formula in terms of materials and firing temperature until it was worked out in Europe in the early 18th century and suitable mineral deposits of kaolin, feldspar, and quartz were discovered. This soon led to a large production in factories across Europe by the end of the 18th century.