Corporate Gifts

This tea set is handcrafted using the technique of Blue-and-white underglaze colour and enamel glazed painting. The design features a pattern of butterflies amid flowers, displaying rich and lifelike colours, creating a unique and charming ambiance.

Blue and White Enamel is a distinctive porcelain decoration technique that combines the traditional methods of blue and white with enamel. It is a variation of the traditional Chinese porcelain production, blending the characteristics of blue and white with enamel, resulting in a captivating and unique decorative style.

Blue and White refers to the technique of painting blue patterns on the porcelain surface. It originated during the Yuan dynasty but reached its peak during the Ming and Qing dynasties. This decorative method uses cobalt oxide blue pigments that fuse with the porcelain surface at high temperatures, ensuring the patterns’ durability.

Enamel, on the other hand, is a decorative technique that involves transplanting the cloisonné enamel method onto a porcelain body as an overglaze colour decoration. Enamel decoration on porcelain, known as “Fàlángcǎi” in Chinese, entails painting colourful patterns on the porcelain surface and then firing it at high temperatures to fuse the colours with the porcelain, achieving a durable and splendid design. These patterns often feature exquisite themes such as flowers, birds, figures, and landscapes, reflecting the essence of traditional Chinese culture and art.

The process of creating enamel decorations is extremely intricate and complex, requiring skilled and experienced craftsmen. First, the porcelain prototype is made, and then special mineral pigments are used to paint patterns on its surface. Once the painting is completed, a series of firing processes follow, during which the temperature and timing for both the porcelain and the enamel colours are crucial factors. Improper temperature or timing can result in cracks in the porcelain or unstable colours. Enamel decoration is considered a treasure in traditional Chinese craftsmanship, representing the wisdom and skills of ancient Chinese artisans.

The combination of blue and white enamel unites these two techniques, typically starting with the blue and white technique to depict blue patterns, and then applying enamel decoration to add additional colours and enhance the visual effect and three-dimensional sense of the design. This decorative method enriches the patterns on the porcelain while preserving the distinctive features of both blue and white and enamel techniques. During the Ming and Qing dynasties, blue and white enamel reached its peak and became one of the main styles for porcelain decoration at that time.

The design on this tea set showcases lifelike patterns of butterflies amid flowers. “Butterflies in Love with Flowers” symbolises sweet love and blissful marriage. In recent times, people have endowed this motif with more profound meanings, expressing good wishes and symbolizing beautiful and prosperous love. Butterflies are often seen as symbols of happiness and love, inspiring and captivating people’s imagination, and aspirations. In traditional Chinese literature, a pair of flying butterflies represents the pursuit of free and passionate love. Butterflies are loyal to their mates, having only one partner throughout their lives, making them a symbol of fidelity in the insect world. Moreover, there is a beautiful Chinese folktale known as “The Butterfly Lovers,” which further enhances the symbolism of sweet love and harmonious marriage associated with the motif of butterflies and flowers.

This enamel-decorated tea set displays a rich and colourful palette, with lively and dynamic brushstrokes, immersing people in an elegant artistic ambiance while enjoying their tea.

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This small and delicate Dou Cai Pi Qiu Hua teaware set is meticulously crafted with the technique of clashing colour.

As we all know, Doucai is a precious art form in traditional Chinese porcelain craftsmanship. It originated and was fired during the Xuande period of the Ming Dynasty, and Dou Cai from the Chenghua period of the Ming Dynasty is highly esteemed. Dou Cai is a type of decoration that combines underglaze blue (qinghua) and overglaze colour painting.

Dou Cai involves applying mineral pigments onto the previously fired underglaze blue porcelain, filling in the gaps left by the underglaze blue patterns and colouring the space within the outline of the underglaze blue design. The porcelain is then fired in a lower-temperature kiln (800°C). Dou Cai is renowned for its vibrant and varied colour palette, as well as its refined and sophisticated decorative style that reflects the aesthetic taste of the Ming Dynasty.

The decorative pattern of Pi Qiu Hua (皮球花), also known as little tuan hua (小团花) or embroidery ball flower, evolved from the traditional tuan hua pattern on porcelain. This pattern has been present since the Sui Dynasty, and it combines abstract and representational elements. It takes various forms, resembling a spherical shape, hence the name Pi Qiu Hua (皮球花).

The decorative patterns on Chinese porcelain always carry auspicious meanings. Since the Pi Qiu Hua pattern originated from tuan hua, it inherits the traditional tuan hua motifs such as tuan long (团龙), tuan feng (团凤), and tuan hua (团花). These traditional motifs symbolize the abundance and beauty of life.

This beautiful tea set, with its vibrant colours and exquisite craftsmanship, is an eye-catching presence wherever it is placed. Imagine having a cup of spring tea by using this charming tea set, it could be the most delightful experience for a day!

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The style of this super beautiful tea set is Ming, using the underglaze blue technique, and entirely handcrafted and hand painted. The pattern features very traditional Chinese patterns including intertwining lotus and ‘Ba Bao’.

The “Ba Bao,” also known as the “Buddhist Eight Treasures” or “Eight Auspicious Treasures,” represent eight auspicious objects symbolizing the power of Buddhism. These symbols manifest through the perception of eight types of consciousness: eyes, ears, nose, tongue, body, mind, intellect, and consciousness. They are depicted in various patterns and motifs as decorations in Buddhist art.

During the Qing Dynasty, particularly during the reign of Emperor Qianlong, these eight auspicious symbols were transformed into three-dimensional display items. They were often placed together with ritual vessels in temples. The eight auspicious symbols are abbreviated as follows: Conch Shell, Dharma Wheel, Umbrella, Canopy, Lotus Flower, Vase, Fish, and Endless Knot.

According to Buddhist beliefs, each of the “Eight Auspicious Symbols” has specific symbolic meanings:

• Conch Shell: Represents the auspicious sound of the Dharma, spreading throughout the world as a symbol of good fortune.
• Dharma Wheel: Signifies the endless cycle of Buddhist teachings, symbolizing the continuity of life.
• Umbrella: Symbolizes protection and the ability to shield and safeguard all sentient beings.
• Canopy: Represents the protection of the world and purification of the universe, symbolizing liberation from poverty and illness.
• Lotus Flower: Symbolizes purity and divine birth, representing the rejection of contamination.
• Vase: Represents the perfection of wisdom and fulfillment, symbolizing the achievement of success.
• Fish: Symbolizes liveliness, health, and vitality, serving as a sign of good luck and warding off evil spirits.
• Endless Knot: Represents the interconnectedness and endless nature of all things, symbolizing longevity, and a hundred years of life.

The construction of these symbols focuses on using auspicious objects as the main decorative elements, with their forms often being symmetrical or balanced. Some are complemented by flowing ribbons, while others are placed on a lotus pedestal, creating a harmonious and coherent effect among the different auspicious treasures.

During the Tang and Song Dynasties, the Eight Auspicious Symbols were introduced to the central plains with the spread of Tibetan Buddhism. By the Yuan Dynasty, they began to appear on silk, ceramics, gold, and silver items. In the Ming and Qing Dynasties, the application of the Eight Auspicious Symbols became even more widespread, involving lacquerware, furniture, architectural decorations, and other areas of craftsmanship.

The delicate brushstrokes and intricate detailing of the painting on this tea set create a distinct sense of aesthetic appeal. The soft and elegant shade of underglaze blue, along with a hint of faint tin glaze, gives it a graceful and ethereal beauty under the light. This tea set exudes a simple yet elegant charm, reminiscent of the style of imitation Ming, making it truly captivating and irresistible.

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This tea set is made in the style of the Yuan dynasty blue and white porcelain, completely handmade and hand-painted. The pattern of “一鹭莲科” or “一路连科” in Chinese culture is derived from the beautiful combination of the heron and lotus leaves. As “鹭” (heron) and “路” (path/road) have the same pronunciation, and “莲” (lotus) sounds like “连” (successive/continuous), the name “一路连科” is a play on words that conveys the beautiful meaning of the pattern. In ancient times, successive successful candidates in the imperial examinations were called “连科,” and “一路连科” is a good wish for students to have a smooth career path and achieve success step by step.

For Yuan blue and white porcelain refers to the blue and white porcelain produced during the Yuan dynasty (1271-1368) in China. The Yuan dynasty was an important period in the history of Chinese porcelain and one of the peaks of Chinese porcelain art. As one of the representatives of that era, Yuan blue and white porcelain exhibited unique artistic styles and technical levels. The characteristic of Yuan blue and white is the use of cobalt blue pigment for painting, which is made of cobalt oxide. After firing, the colour is bright and rich, with an extremely high decorative effect. Yuan blue and white porcelain has various shapes, thick and heavy, concise, and fluent lines, and stable and solemn shapes, all made exquisitely.

The evolution of Yuan blue and white is based on the foundation of Tang and Song celadon. Firstly, the glaze colour was improved and innovated. Unique white glaze, eggshell glaze and blue-white glaze were invented to make the glaze crystal clear. Cobalt pigment was imported for glaze colouring. Or using the pigment made from domestic materials.

The formation of tin spots on Yuan blue and white is due to the high content of iron elements in local parts of the blue pigment. After reaching saturation in the high-temperature glaze solution and cooling down, the iron elements in the supersaturated part start to precipitate. If the iron content of the blue pigment is higher and the cooling rate is appropriate, tin spots are more likely to appear on the surface of the ware.

In addition to firing and materials, the formation of tin spots also involves the factor of glaze material. During the painting process, tin spots can also be formed due to the accumulation of blue pigment. Tin spots are more likely to appear on the surface of the ware at the intersections and the starting and ending points of brushstrokes. The formation of tin spots can be said to be a natural creation or an artificial decoration.

This tea set has a thick body and uses the Su Ma Li Qing glaze material (a kind of blue pigment), with a heavy sense of tin spots, revealing a unique charm of the past era. The entire production process is completed by hand, and every detail has been carefully designed and polished, giving this tea set a unique artistic charm.

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This tea set is completely handmade and hand-painted. The special craft used in this teaware includes Blue and white underglaze colour and underglaze red.

The pattern featured is called “Bao Xiang” in Chinese, which is a traditional decorative motif representing one of the auspicious three treasures (Bao Xiang flower, Money tree, and Treasure basin), prevalent during the Sui and Tang dynasties in China. Bao Xiang pattern is also known as ‘Bao Xian Hua’ or ‘Bao Lian Hua’. Its lines are clear, and the colour is serene and antique. The Bao Xiang pattern design of this teaware is neat, and complex but not messy, and the whole picture of it is full and rich in details.

In Chinese culture, the Bao Xiang pattern symbolizes auspiciousness and happiness, representing people’s aspirations for happiness. It is widely popular in the decoration of silk brocade, bronze mirrors, and porcelain, showcasing people’s pursuit of a better life.

This tea set features smooth and concise curves, combining the unique beauty of the Bao Xiang pattern, creating a visually appealing and enjoyable tea-drinking experience. The blue and red underglaze colours complement each other and create a beautiful radiance.

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