The various types of round wares painted in underglaze blue are produced by the hundreds or even by the thousands. If the painted decoration on every piece in a set is not exactly the same, the set will be irregular.
For this reason, the work is divided between specialists. Those who draw the outlines are trained only in sketching, not in painting. Those who do the painting, study painting alone and do not sketch. By limiting each worker to a single task, their hands develop greater skill and their attention is not divided.
To secure uniformity in their work the sketchers and painters, although performing different tasks, work together in the same house.
The same principle applies to other branches of decoration, such as embossing, engraving, and openwork carving. Each of these tasks is assigned to its own group of specialized craftsmen.
Decoration in underglaze red, although really different, is closely related to that of painting in blue.
The concentric rings around the borders of vessels and the encircling blue bands, these are applied by the craftsmen who finish the pieces on the polishing wheel while the marks written underneath and any inscribed texts are executed by specialist writers who attach the seals.
For the painting of flowers and birds, fish and aquatic plants, and living subjects in general, the study of nature is essential.
In the copying of Ming dynasty porcelain and earlier wares, familiarity with many original examples brings skill.
Painting in underglaze blue is a distinct art and differs widely from decoration in enamel colors.
