San Cai Jia Hong (Three Colors with Added Red): A rare and valuable variety from the Kangxi period, characterized by adding a bit of red to the main parts of the three-colored wares, typically on the outlines of figures’ clothing or ornaments, while other parts are painted with other colors.
Da Ming Cai (Great Ming Colors): This term has two interpretations. The first refers to the colorful porcelains such as Wucai (Five Colors) and Doucai (Contrasted Colors) from the Ming Dynasty. The second usage refers to the Wucai porcelains of the Yongzheng period, known as “Great Ming Colors.”
Guang Cai (Canton Enamels): Refers to export porcelain produced from the Yongzheng, Qianlong, Jiaqing periods up to the Republic of China. The unpainted wares were made in Jingdezhen and then shipped to Guangzhou for painting, hence the name “Guang Cai.” These were then exported directly abroad.
Gu Cai (Ancient Colors): Also known as “Hard Colors,” specifically referring to Kangxi Wucai (Five Colors), contrasting with Yongzheng Falangcai (Soft Colors).
Da Liao (Painting with Glaze): Dipping the brush into a palette containing glaze materials, ensuring it is saturated with color.
Hou Jia Cai (Post-Firing Painting): Adding new colors to old porcelain, then firing at low temperatures. This deceptive practice increases the item’s economic value by pretending it is original.
Bu Cai (Color Repair): The technique of adding colors to areas where the original glaze has fallen off, repairing the piece.
Jin Lan Shou (Gold-Bordered Hand): In Japanese ceramics, this refers to Chinese gold-decorated porcelain popular during the Jiajing and Wanli periods of the Ming Dynasty.
Liang Jin (Bright Gold): Applying gold water on the porcelain surface, then firing it to produce a sparkling metallic gold layer.
Yang Cai (Western Enamels): Porcelain influenced by Western painting styles or using imported enamels.
Liao Cai (Enamel Colors): A term for porcelain painted with Falangcai enamels, typically only using red and blue hues. This began in the Yongzheng period and peaked during the Qianlong period.
Jie Se (Blending Colors): A technique in Famille Rose painting where two or more different colors are blended together on the same area of the painting.
Miao Jin (Gold Outlining): Decorating porcelain with gold powder. Before the mid-Qing period, gold powder was used; afterward, gold water became more common.
Cai Shao (Color Firing): The process of low-temperature firing porcelain after painting the decorations.
Tian Se (Filling Colors): Similar to adding colors in traditional Chinese painting, filling areas with various watercolors as per the design.
Tian Cai (Color Filling): A technique where designs are outlined in underglaze blue, then filled with overglaze colors.
Zhao Cai (Overlay Colors): An overglaze painting technique introduced from abroad and developed further. Previously called “Yang Cai” (Foreign Colors), now referred to as “new colors” or “new flowers” post-1949.
Mo Guang Jin (Matte Gold): A later development, characterized by a thin, non-glossy gold layer after firing. It gains a metallic sheen only after being polished with tools like glass rods or fine sand.
Cha Zi (Rich Purple): Also known as “Bright Purple,” a distinctive deep, non-glossy purple used in Chenghua Doucai, crucial for identifying authentic Chenghua period pieces. This color is difficult to replicate in later imitations.
