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This little Chinese bowl once belonged to Queen Elizabeth I. | 0:00:04 | 0:00:08 | |
It's made of a material which was unknown in Europe | 0:00:08 | 0:00:10 | |
until the 1500s. | 0:00:10 | 0:00:12 | |
And when that material arrived, it caused a sensation. | 0:00:12 | 0:00:17 | |
In the 16th century, porcelain became a cult item | 0:00:18 | 0:00:22 | |
amongst the very wealthy. | 0:00:22 | 0:00:24 | |
The intelligentsia and the aristocracy | 0:00:24 | 0:00:27 | |
kept porcelain in their cabinets of curiosity. | 0:00:27 | 0:00:31 | |
By the 18th century, the fever had spread to the middle classes. | 0:00:31 | 0:00:35 | |
People are so mad for it that they're getting into debt. | 0:00:35 | 0:00:38 | |
They're going bust, wasting their families' wealth. | 0:00:38 | 0:00:41 | |
The making of porcelain was shrouded in mystery. | 0:00:41 | 0:00:44 | |
European potters tried in vain to copy it. | 0:00:44 | 0:00:47 | |
Chinese porcelain's probably the most misunderstood material | 0:00:47 | 0:00:51 | |
in ceramic history. | 0:00:51 | 0:00:53 | |
The insatiable demand created a global trade. | 0:00:53 | 0:00:56 | |
The blue-and-white imagery on the wares | 0:00:56 | 0:00:58 | |
changed our idea of what was beautiful. | 0:00:58 | 0:01:00 | |
The British dining table would never be the same again. | 0:01:00 | 0:01:05 | |
I've had porcelain fever for most of my life, | 0:01:05 | 0:01:08 | |
and the best way to tell the story | 0:01:08 | 0:01:10 | |
of how blue-and-white porcelain arrived in the West from China | 0:01:10 | 0:01:14 | |
is to go there. I'm going to the source, | 0:01:14 | 0:01:17 | |
to one of the world's first industrial cities. | 0:01:17 | 0:01:19 | |
'I'll follow the route taken by millions of cups, plates and bowls | 0:01:19 | 0:01:23 | |
'to try to find out why these wares were so prized then and now.' | 0:01:23 | 0:01:28 | |
It's a story ripe for the telling, because now | 0:01:30 | 0:01:33 | |
it's the Chinese who've got the fever. | 0:01:33 | 0:01:36 | |
The new emperors are buying back their history, | 0:01:36 | 0:01:39 | |
making Chinese porcelain some of the most expensive art | 0:01:39 | 0:01:42 | |
ever to come under the hammer. | 0:01:42 | 0:01:45 | |
?1 million, ladies and gentlemen. ?1,500,000. | 0:01:45 | 0:01:48 | |
?1,700,000. | 0:01:48 | 0:01:50 | |
'The Victoria and Albert Museum in London | 0:02:00 | 0:02:03 | |
'is home to objects that define the British. | 0:02:03 | 0:02:06 | |
'On the sixth floor, there's a collection about control | 0:02:06 | 0:02:10 | |
'and our ability to lose it.' | 0:02:10 | 0:02:13 | |
Between the 17th and 18th centuries, | 0:02:29 | 0:02:31 | |
the aristocrats and merchants of England | 0:02:31 | 0:02:34 | |
became increasingly hungry for Chinese porcelain. | 0:02:34 | 0:02:38 | |
At its height in the mid-18th century, | 0:02:38 | 0:02:41 | |
it's estimated that over two million pieces of porcelain | 0:02:41 | 0:02:45 | |
arrived in London, and that was at a time when the whole population | 0:02:45 | 0:02:48 | |
of these islands was no more than around six million. | 0:02:48 | 0:02:51 | |
It wasn't just this magical white translucent material | 0:02:51 | 0:02:55 | |
that interested them, but it was the images | 0:02:55 | 0:02:57 | |
of a far-distant, mysterious place - Cathay, China. | 0:02:57 | 0:03:02 | |
Over the years I've been involved with many ceramic valuations. | 0:03:03 | 0:03:07 | |
My job's been to look at vases, plates, dishes, | 0:03:07 | 0:03:09 | |
owned by people whose ancestors just had to have them, | 0:03:09 | 0:03:13 | |
whether they were new at the time or had become antiques. | 0:03:13 | 0:03:17 | |
And it's those successive waves of China-mania | 0:03:17 | 0:03:20 | |
which have brought us these fabulous national collections | 0:03:20 | 0:03:24 | |
that we have. But how did this love affair with Chinese porcelain start? | 0:03:24 | 0:03:29 | |
How was the trade regulated? | 0:03:29 | 0:03:31 | |
And just what was it that gave it its value? | 0:03:31 | 0:03:33 | |
Was it the nature of the porcelain itself, | 0:03:33 | 0:03:36 | |
or did it have something to do with the complexity | 0:03:36 | 0:03:39 | |
of bringing it from China to Europe? | 0:03:39 | 0:03:42 | |
Like any consumer craze, it started with a gap in the market. | 0:03:44 | 0:03:49 | |
In Europe, in the 16th or 17th century, | 0:03:50 | 0:03:54 | |
all you would have seen were stonewares and earthernwares, | 0:03:54 | 0:04:00 | |
quite rough pots. | 0:04:00 | 0:04:03 | |
And suddenly you see something which is thin as paper, | 0:04:06 | 0:04:12 | |
white, shiny, translucent, | 0:04:12 | 0:04:16 | |
and you wonder what on earth this magic substance is. | 0:04:16 | 0:04:20 | |
In fact, early Europeans didn't know what porcelain was. | 0:04:20 | 0:04:24 | |
They thought it was some kind of precious stone. | 0:04:24 | 0:04:28 | |
Porcelain was harder than our toughest stonewares. | 0:04:28 | 0:04:31 | |
If you hit it with a spoon, it rang like a bell. | 0:04:31 | 0:04:34 | |
But it didn't chip, flake or scratch. | 0:04:34 | 0:04:37 | |
It was resistant to heat, and the colour didn't fade. | 0:04:37 | 0:04:40 | |
It was very hard. It was white, and when you held it up to the light, | 0:04:42 | 0:04:46 | |
you could see it was translucent. | 0:04:46 | 0:04:48 | |
Better still, it came from far-off China, | 0:04:48 | 0:04:51 | |
and only the Chinese knew how to make it. | 0:04:51 | 0:04:55 | |
All over Europe, scientific gentlemen experimented in vain | 0:04:55 | 0:04:59 | |
to try to work out what made porcelain so fine. | 0:04:59 | 0:05:02 | |
Collectors were obsessed. There was a fortune to be made. | 0:05:02 | 0:05:07 | |
The swank value of porcelain was quite high. | 0:05:07 | 0:05:10 | |
In fact, in many cases, | 0:05:10 | 0:05:13 | |
porcelain even replaced precious metals like gold and silver. | 0:05:13 | 0:05:17 | |
A beautiful, exotic, hard-to-get product | 0:05:17 | 0:05:21 | |
in limited supply. | 0:05:21 | 0:05:24 | |
The Portuguese and Dutch had been first to the source, | 0:05:24 | 0:05:27 | |
so the British aristocracy had to beg, borrow or steal it. | 0:05:27 | 0:05:31 | |
In 1602, they did just that. | 0:05:31 | 0:05:36 | |
When a Portuguese boat loaded with porcelain was stolen by the Dutch | 0:05:36 | 0:05:39 | |
in mid-ocean, it came up for auction. | 0:05:39 | 0:05:42 | |
The kings of France and England bid against each other. | 0:05:42 | 0:05:46 | |
These are very exclusive, very high-status luxury items | 0:05:47 | 0:05:50 | |
for the mega-rich, and the person who kicks it all off in England | 0:05:50 | 0:05:54 | |
is Queen Mary II in the late 17th century. | 0:05:54 | 0:05:57 | |
Now, she had spent time in the Low Countries. | 0:05:57 | 0:05:59 | |
The Dutch were a great trading nation. | 0:05:59 | 0:06:02 | |
She got hold of loads of porcelain when she'd been living there, | 0:06:02 | 0:06:05 | |
before she came to England, and you can see in the Royal Collection, | 0:06:05 | 0:06:09 | |
Charles I - he has some porcelain. He has about 60 items. | 0:06:09 | 0:06:13 | |
Mary II, 50 years later - she's got 800. | 0:06:13 | 0:06:16 | |
What had begun in the 16th and 17th centuries | 0:06:16 | 0:06:20 | |
as the importation of occasional pieces of blue-and-white porcelain | 0:06:20 | 0:06:23 | |
for princes and their palaces became, in the 18th century, | 0:06:23 | 0:06:27 | |
the maladie de porcelaine, | 0:06:27 | 0:06:29 | |
the porcelain sickness, | 0:06:29 | 0:06:32 | |
when every self-respecting merchant and his household | 0:06:32 | 0:06:35 | |
filled every nook and cranny, every shelf, with Chinese porcelain. | 0:06:35 | 0:06:40 | |
Today we tend to eat off plain white plates. | 0:06:40 | 0:06:44 | |
But generations of British homemakers | 0:06:44 | 0:06:47 | |
have jollied up their interiors with blue-and-white china. | 0:06:47 | 0:06:50 | |
The idea that utilitarian objects could also be works of art was revolutionary, | 0:06:50 | 0:06:56 | |
and would be a profound influence on our aesthetics. | 0:06:56 | 0:07:00 | |
To many, however, this was just an opportunity | 0:07:00 | 0:07:02 | |
for conspicuous consumption. | 0:07:02 | 0:07:05 | |
One of the best descriptions of China-mania comes in Daniel Defoe. | 0:07:06 | 0:07:10 | |
He's writing in the early 18th century. | 0:07:10 | 0:07:13 | |
You need to put it on your tables, your writing table, | 0:07:13 | 0:07:16 | |
your cabinet. It's right up to the top of the ceiling. | 0:07:16 | 0:07:19 | |
It's being displayed in people's houses, | 0:07:19 | 0:07:22 | |
and people are so mad for it, they're getting into debt, | 0:07:22 | 0:07:25 | |
going bust, wasting their families' wealth. The world had gone mad for china. | 0:07:25 | 0:07:29 | |
So how did this rare product, available only to the few, | 0:07:31 | 0:07:36 | |
become a craze amongst the emerging middle class? | 0:07:36 | 0:07:39 | |
It was thanks to the business savvy | 0:07:39 | 0:07:41 | |
of the most powerful corporation the world has ever seen - | 0:07:41 | 0:07:45 | |
the East India Company. | 0:07:45 | 0:07:47 | |
The East India Company can be seen as the mother of the modern corporation. | 0:07:49 | 0:07:53 | |
It existed in the import-export business, | 0:07:53 | 0:07:56 | |
exporting bullion to Asia to bring in luxury goods, | 0:07:56 | 0:07:59 | |
spices, textiles and tea and porcelain from China. | 0:07:59 | 0:08:03 | |
From Leadenhall Street in the City of London, | 0:08:05 | 0:08:08 | |
the company controlled the supply and fed the demand for porcelain | 0:08:08 | 0:08:12 | |
because they had a monopoly on all British trade with the East. | 0:08:12 | 0:08:16 | |
Today there isn't so much as a brass plaque to mark the place | 0:08:16 | 0:08:21 | |
where their mansion offices stood. | 0:08:21 | 0:08:23 | |
Another monument to global trade now occupies the plot - | 0:08:23 | 0:08:27 | |
Lloyd's of London. | 0:08:27 | 0:08:29 | |
At its height, it had a very grand, classical headquarters, | 0:08:30 | 0:08:36 | |
perhaps something like the British Museum | 0:08:36 | 0:08:38 | |
in terms of its style, with a classical frontage - | 0:08:38 | 0:08:42 | |
a very big building with its own museum inside, | 0:08:42 | 0:08:45 | |
and also its auction house, where every quarter | 0:08:45 | 0:08:48 | |
there'd be the sale of all the goods, | 0:08:48 | 0:08:51 | |
which was supposed to be so loud and noisy | 0:08:51 | 0:08:53 | |
that people could hear them outside, shouting and yelling | 0:08:53 | 0:08:57 | |
as people tried to get their price for the goods. | 0:08:57 | 0:09:00 | |
The corporation docks were at Blackwall. | 0:09:01 | 0:09:03 | |
They had chandleries, sail lofts, mast houses, careening beds, | 0:09:03 | 0:09:09 | |
and an army of stevedores toting bales of cotton, | 0:09:09 | 0:09:12 | |
silks, spices, tea, and, of course, porcelain by the hundredweight. | 0:09:12 | 0:09:18 | |
It was from here that the company's ships, | 0:09:18 | 0:09:21 | |
known as East Indiamen, sailed out to find the trade winds. | 0:09:21 | 0:09:25 | |
These breezes are a meteorological conveyor belt. | 0:09:25 | 0:09:28 | |
They took the ships down the coast of Africa, | 0:09:28 | 0:09:31 | |
around the Horn, out across the Indian Ocean, | 0:09:31 | 0:09:34 | |
through the Malacca Straits, and into the South China Seas, | 0:09:34 | 0:09:39 | |
where hordes of pirates lay in wait. | 0:09:39 | 0:09:42 | |
For the china trade, these were the biggest ships. | 0:09:42 | 0:09:45 | |
These were the 1,000, 1,200-ton ships, | 0:09:45 | 0:09:48 | |
both having a commercial purpose | 0:09:48 | 0:09:50 | |
but also able to fight off marauders and pirates. | 0:09:50 | 0:09:54 | |
There were huge dangers of dying. | 0:09:54 | 0:09:56 | |
About a half, two thirds of people never came back. | 0:09:56 | 0:10:00 | |
For those who made it, the port of entry was Guangzhou, or Canton, | 0:10:02 | 0:10:06 | |
and it's where my Chinese journey begins. | 0:10:06 | 0:10:09 | |
Today, China is a holiday destination. | 0:10:09 | 0:10:12 | |
Then, it was as alien as the moon - | 0:10:12 | 0:10:15 | |
except we knew what the moon looked like. | 0:10:15 | 0:10:18 | |
Welcome to China! | 0:10:18 | 0:10:21 | |
If you'd come here in the 18th century, | 0:10:30 | 0:10:32 | |
the scene up there in the dusk | 0:10:32 | 0:10:34 | |
would have been one of a flotilla of European ships, | 0:10:34 | 0:10:38 | |
all bobbing at anchor, | 0:10:38 | 0:10:40 | |
their lights twinkling, occasional sounds of sailors singing. | 0:10:40 | 0:10:44 | |
These were the sailors who'd come halfway across the world - | 0:10:47 | 0:10:51 | |
in their minds, the celestial empire | 0:10:51 | 0:10:54 | |
as portrayed in blue-and-white china, | 0:10:54 | 0:10:56 | |
a land of romance. And what happened? | 0:10:56 | 0:10:59 | |
They got to here, known to the European sailors | 0:10:59 | 0:11:03 | |
as the Whampoa Anchorage, and this was where they had to stop. | 0:11:03 | 0:11:09 | |
'The emperor, in faraway Beijing, was not minded to allow traders | 0:11:11 | 0:11:15 | |
'to penetrate further than his southern doorstep.' | 0:11:15 | 0:11:18 | |
They were confined to Canton, and even then, | 0:11:18 | 0:11:22 | |
only the port area. | 0:11:22 | 0:11:24 | |
There was a view that many of the Europeans and so on | 0:11:24 | 0:11:28 | |
were little more than pirates, and were to be discouraged | 0:11:28 | 0:11:32 | |
because of the disruption they could cause. | 0:11:32 | 0:11:35 | |
There were two very good reasons for keeping the foreigners here | 0:11:35 | 0:11:38 | |
in Canton. The first was to prevent the barbarian influence | 0:11:38 | 0:11:42 | |
on the Chinese empire, and the second, more importantly, | 0:11:42 | 0:11:46 | |
was to prevent China's own secrets from leaking out into the West. | 0:11:46 | 0:11:49 | |
And one of these secrets, of course, was the method of making porcelain. | 0:11:49 | 0:11:54 | |
The Europeans were confined to port, | 0:12:00 | 0:12:03 | |
and their orders for tea sets and dinner services | 0:12:03 | 0:12:05 | |
were taken up country by Chinese middle men | 0:12:05 | 0:12:08 | |
known to Europeans as hoppos. | 0:12:08 | 0:12:11 | |
Even in modern times, it's been difficult for foreigners | 0:12:13 | 0:12:16 | |
to get permits to visit certain areas. | 0:12:16 | 0:12:19 | |
But today I can go to the place where all porcelain came from - | 0:12:20 | 0:12:23 | |
the fabled town of Jingdezhen. | 0:12:23 | 0:12:26 | |
18th-century accounts tell of a warren of streets and alleyways, | 0:12:31 | 0:12:37 | |
and a population that consumed 10,000 loads of rice | 0:12:37 | 0:12:41 | |
and 1,000 hogs every day. | 0:12:41 | 0:12:44 | |
It's in the middle of nowhere, and very difficult to get to. | 0:12:46 | 0:12:50 | |
The reason the town makes all this porcelain | 0:12:50 | 0:12:53 | |
is because of its fantastic natural resources. | 0:12:53 | 0:12:57 | |
The materials at Jingdezhen are particularly rich, | 0:12:57 | 0:13:00 | |
and so that's why it was given an imperial decree | 0:13:00 | 0:13:05 | |
in the year 1004. | 0:13:05 | 0:13:08 | |
Remote and inaccessible, | 0:13:09 | 0:13:12 | |
the town was literally built on the secret ingredients | 0:13:12 | 0:13:15 | |
that made porcelain. | 0:13:15 | 0:13:17 | |
What happened in Jingdezhen | 0:13:17 | 0:13:19 | |
is that, until the early tenth century, | 0:13:19 | 0:13:21 | |
it was making a stoneware material that had a grey-green ash glaze, | 0:13:21 | 0:13:26 | |
and this had really been made in South China since the Bronze Age. | 0:13:26 | 0:13:31 | |
What seems to have happened in the tenth century AD | 0:13:31 | 0:13:34 | |
is that Chinese potters discovered that there was another local rock, | 0:13:34 | 0:13:38 | |
and if they processed this in exactly the same way, | 0:13:38 | 0:13:41 | |
they could produce a white material | 0:13:41 | 0:13:44 | |
rather than this old grey-green stoneware. | 0:13:44 | 0:13:47 | |
'The rock they discovered was mined in the hills above the town. | 0:13:51 | 0:13:55 | |
'Every day for a thousand years, | 0:13:55 | 0:13:58 | |
'these paths were trodden by labourers | 0:13:58 | 0:14:00 | |
'ferrying basketfuls down the slopes.' | 0:14:00 | 0:14:04 | |
And the product they were carrying, | 0:14:04 | 0:14:06 | |
an essential ingredient in 99 percent of the pieces of porcelain | 0:14:06 | 0:14:10 | |
in European country houses, | 0:14:10 | 0:14:12 | |
is named after this mountain, Mount Gaolin. | 0:14:12 | 0:14:16 | |
And the material we call kaolin. | 0:14:16 | 0:14:19 | |
Ooh! | 0:14:33 | 0:14:35 | |
Gosh! From subtropical to sub-zero! | 0:14:35 | 0:14:38 | |
It's very cold in here. | 0:14:38 | 0:14:41 | |
And to think that, every day, these men from the village below | 0:14:43 | 0:14:46 | |
came a thousand feet up the hill, into holes like this, | 0:14:46 | 0:14:51 | |
quarrying for kaolin... | 0:14:51 | 0:14:54 | |
..buckled under the weight as they carried it back down again, | 0:14:55 | 0:14:58 | |
and the fact that these workmen probably didn't live that long. | 0:14:58 | 0:15:02 | |
I guess they probably were finished by the time they were 40. | 0:15:02 | 0:15:06 | |
And all for the sake of this material, this magic material. | 0:15:06 | 0:15:10 | |
I wonder how many people, | 0:15:11 | 0:15:13 | |
looking at their precious 18th-century porcelain today, | 0:15:13 | 0:15:19 | |
realise the effort | 0:15:19 | 0:15:21 | |
and the human sacrifice... | 0:15:21 | 0:15:24 | |
..that went into getting this material out of here... | 0:15:26 | 0:15:30 | |
..and back down the mountain. | 0:15:31 | 0:15:33 | |
Kaolin is simply clay. | 0:15:35 | 0:15:38 | |
'It occurs all over the world, | 0:15:38 | 0:15:40 | |
'but the variety here is particularly fine. | 0:15:40 | 0:15:43 | |
'The hard part is extracting it from the rock.' | 0:15:43 | 0:15:47 | |
This is kaolinised granite. Granite is an extremely hard, dense rock, | 0:15:48 | 0:15:52 | |
but when it's attacked by superheated steam | 0:15:52 | 0:15:56 | |
below the surface of the Earth, | 0:15:56 | 0:15:58 | |
some of the minerals turn to clay, | 0:15:58 | 0:16:01 | |
and the white, dusty material is the kaolin, | 0:16:01 | 0:16:04 | |
and a good kaolinised granite | 0:16:04 | 0:16:07 | |
will contain about ten or 15 percent of that material. | 0:16:07 | 0:16:10 | |
So a lot of the hard work is really separating that from the rock | 0:16:10 | 0:16:14 | |
and using it for porcelain. | 0:16:14 | 0:16:16 | |
That's what was happening in the mines above Jingdezhen. | 0:16:16 | 0:16:20 | |
Down below, at the foot of the mountain, | 0:16:22 | 0:16:24 | |
the second and most magical ingredient was prepared. | 0:16:24 | 0:16:28 | |
'When the porcelain fever was at its height in Europe, | 0:16:28 | 0:16:32 | |
'ceramicists were desperate to discover what was added to kaolin | 0:16:32 | 0:16:36 | |
'to make it so covetably lustrous.' | 0:16:36 | 0:16:40 | |
Welcome to the world-famous trip-hammer mill at Yaoli. | 0:16:40 | 0:16:43 | |
Arguably one of oldest industrial machines in the world, | 0:16:44 | 0:16:48 | |
hammers like this have been operating in China | 0:16:48 | 0:16:51 | |
for over 2,000 years, and as you can see, | 0:16:51 | 0:16:54 | |
the way this works, the water drives the wheel, | 0:16:54 | 0:16:56 | |
the wheel turns an axle, and the pins in the axle | 0:16:56 | 0:17:01 | |
engage these levered mallets, | 0:17:01 | 0:17:03 | |
which rise and drop, rise and drop. You've got a sequence of them. | 0:17:03 | 0:17:08 | |
And into these pits we place china stone. | 0:17:08 | 0:17:13 | |
It was china stone that made porcelain light and tough | 0:17:14 | 0:17:18 | |
and in demand the world over. | 0:17:18 | 0:17:20 | |
But what was it? | 0:17:20 | 0:17:22 | |
The Chinese guarded their secret jealously. | 0:17:25 | 0:17:29 | |
'When Europeans eventually managed to make porcelain | 0:17:29 | 0:17:32 | |
'in the 18th century, they used a material called feldspar. | 0:17:32 | 0:17:36 | |
'But they still hadn't discovered what china stone really was.' | 0:17:36 | 0:17:40 | |
Chinese porcelain is probably the most misunderstood material | 0:17:41 | 0:17:44 | |
in ceramic history. The general misunderstanding | 0:17:44 | 0:17:48 | |
is that it's a feldspathic material. | 0:17:48 | 0:17:50 | |
But feldspar was not an ingredient | 0:17:50 | 0:17:53 | |
in the first Chinese porcelain. | 0:17:53 | 0:17:56 | |
Its place, really, was taken by another mineral | 0:17:56 | 0:17:59 | |
called potash mica, | 0:17:59 | 0:18:02 | |
and this is actually the main flux | 0:18:02 | 0:18:05 | |
that's in this early porcelain. | 0:18:05 | 0:18:08 | |
Mica melts at high temperature and gives you translucency, | 0:18:08 | 0:18:11 | |
but its other great advantage is that it gives you plasticity, | 0:18:11 | 0:18:15 | |
because the crystal structure is what is known as platy, | 0:18:15 | 0:18:18 | |
and almost all ceramics need this kind of platy mineral | 0:18:18 | 0:18:22 | |
to produce plasticity. | 0:18:22 | 0:18:24 | |
Plasticity meant that you could shape ceramics | 0:18:27 | 0:18:30 | |
into a myriad of new forms, | 0:18:30 | 0:18:32 | |
and mica provided a bright surface. | 0:18:32 | 0:18:36 | |
The use of cobalt blue under the glaze | 0:18:36 | 0:18:38 | |
eventually led to the recognisable Chinese blue-and-white style. | 0:18:38 | 0:18:42 | |
From the 16th century onwards, the Portuguese and then the Dutch | 0:18:44 | 0:18:49 | |
demanded highly formal, compartmentalised designs | 0:18:49 | 0:18:52 | |
crammed with Chinese scenes. | 0:18:52 | 0:18:56 | |
From the 17th century, we begin to see enamelled wares reaching Europe. | 0:18:56 | 0:19:00 | |
Meanwhile, in Beijing, | 0:19:00 | 0:19:03 | |
the emperors indulged their own tastes for wares so fine, | 0:19:03 | 0:19:06 | |
so exquisitely potted, | 0:19:06 | 0:19:08 | |
that they could make the most delicate export wares look lumpen. | 0:19:08 | 0:19:13 | |
The court had their own colour palette, too. | 0:19:13 | 0:19:17 | |
Yellow glaze was reserved for imperial eyes only. | 0:19:18 | 0:19:21 | |
But all this beauty emerged from ugliness. | 0:19:31 | 0:19:34 | |
Porcelain made Jingdezhen one of the world's first industrial cities. | 0:19:34 | 0:19:39 | |
It also made it a seething, stinking hellhole. | 0:19:39 | 0:19:44 | |
It was dirty, it was dark. | 0:19:44 | 0:19:47 | |
The quality of people's lives there was extremely poor. | 0:19:47 | 0:19:51 | |
It was very polluted because of all the kilns burning into the sky. | 0:19:51 | 0:19:57 | |
The town itself was a warren of narrow alleys, | 0:19:58 | 0:20:02 | |
with kilns and workshops opening off the alleys. | 0:20:02 | 0:20:06 | |
It would have been like going back to one of the worst cities | 0:20:06 | 0:20:10 | |
in Victorian Britain in the Industrial Revolution. | 0:20:10 | 0:20:13 | |
Today it's been cleaned up...a bit. | 0:20:13 | 0:20:16 | |
But Jingdezhen is still the spiritual home | 0:20:16 | 0:20:19 | |
of the world's porcelain industry. | 0:20:19 | 0:20:22 | |
The town is one of many locations | 0:20:22 | 0:20:25 | |
the imperial rulers wanted to keep from prying eyes. | 0:20:25 | 0:20:29 | |
But a few outsiders did get in. | 0:20:29 | 0:20:32 | |
One such was Jesuit priest Father d'Entrecolles, | 0:20:32 | 0:20:36 | |
who came here in the 18th century to spread the Gospel | 0:20:36 | 0:20:40 | |
and indulge in some industrial espionage. | 0:20:40 | 0:20:43 | |
Here he is writing back to H-quarters in Rome | 0:20:43 | 0:20:46 | |
about the ceramics industry in Jingdezhen. | 0:20:46 | 0:20:50 | |
"When the cup leaves the wheel, it is taken by a second workman, | 0:20:50 | 0:20:54 | |
who puts it straight upon its base." | 0:20:54 | 0:20:56 | |
"Shortly afterwards it is handed over to a third man, | 0:20:56 | 0:20:59 | |
who puts it on its mould and gives it its shape." | 0:20:59 | 0:21:02 | |
"A fourth workman pares it down as much as is necessary | 0:21:02 | 0:21:06 | |
for its transparency." | 0:21:06 | 0:21:08 | |
"It is surprising to see the rapidity | 0:21:08 | 0:21:10 | |
with which these vessels pass through so many different hands, | 0:21:10 | 0:21:15 | |
and I am told that a piece of fired porcelain | 0:21:15 | 0:21:18 | |
has passed through the hands of 70 workmen." | 0:21:18 | 0:21:21 | |
"I can easily believe this by what I myself have seen." | 0:21:21 | 0:21:26 | |
Today, the secret of porcelain is an open one, | 0:21:28 | 0:21:32 | |
openly displayed at the town's open-air museum. | 0:21:32 | 0:21:35 | |
He's got a hump of clay, and he can make several bowls | 0:21:38 | 0:21:40 | |
out of one hump. | 0:21:40 | 0:21:42 | |
It's an inertia wheel. It's just human-powered. | 0:21:43 | 0:21:46 | |
There's no electricity here at all. | 0:21:46 | 0:21:48 | |
And for as long as that wheel is going round, | 0:21:48 | 0:21:51 | |
he's producing a bowl, and he can probably do it | 0:21:51 | 0:21:53 | |
in one winding-up of the wheel. | 0:21:53 | 0:21:55 | |
Fantastic! | 0:22:03 | 0:22:04 | |
Very good. Hen hao, hen hao. HE LAUGHS | 0:22:04 | 0:22:07 | |
The production-line process that Father d'Entrecolles described | 0:22:12 | 0:22:16 | |
was in use in Jingdezhen long before the division of labour | 0:22:16 | 0:22:20 | |
became the foundation of the Western Industrial Revolution. | 0:22:20 | 0:22:24 | |
In Europe, we knew that porcelain came from a mysterious place, | 0:22:26 | 0:22:30 | |
but also that it was forged in a hellish inferno. | 0:22:30 | 0:22:34 | |
The dangers of the kiln, the risks faced by the brave workers, | 0:22:34 | 0:22:39 | |
just added to the romance and the price. | 0:22:39 | 0:22:42 | |
The Jingdezhen museum is constructed around an ancient kiln | 0:22:42 | 0:22:46 | |
so large, it takes months of production | 0:22:46 | 0:22:48 | |
to fill its egg-shaped chamber, and forests of timber to fuel it. | 0:22:48 | 0:22:53 | |
Right. I'm taking you to one of the great, great sites in the world. | 0:22:53 | 0:22:57 | |
This is the only remaining chicken's-egg kiln. | 0:22:57 | 0:23:00 | |
It is the biggest functioning kiln in the world. | 0:23:00 | 0:23:03 | |
It still works. It was created in the Ming Dynasty. | 0:23:03 | 0:23:07 | |
It's been working for over 400, 500 years maybe. | 0:23:07 | 0:23:10 | |
And it was in kilns like this that every single piece | 0:23:10 | 0:23:14 | |
of Chinese export porcelain from Jingdezhen were created. | 0:23:14 | 0:23:17 | |
Just look at the size of this thing. It's 20 metres long, | 0:23:17 | 0:23:21 | |
and it has a chimney stack at the other end 20 metres high. | 0:23:21 | 0:23:25 | |
Those cylindrical boxes, those are called saggars, | 0:23:25 | 0:23:29 | |
and inside those boxes are the wares that are to be fired. | 0:23:29 | 0:23:32 | |
It takes days to fill this thing up, | 0:23:33 | 0:23:36 | |
and when full, this entry is bricked up with mortar and brick, | 0:23:36 | 0:23:40 | |
and leaving a hole here, the whole kiln is fired for two days, | 0:23:40 | 0:23:45 | |
feeding through that hole 50 tons of firewood - | 0:23:45 | 0:23:49 | |
pinewood, seasoned outside the door here. | 0:23:49 | 0:23:53 | |
The flames are shooting out of the chimney at the other end | 0:23:53 | 0:23:56 | |
and lighting up the sky. Now, multiply that by 200, | 0:23:56 | 0:24:00 | |
and you get some idea of people talked about the fabled city | 0:24:00 | 0:24:03 | |
of Jingdezhen being lit up. It was never dark. | 0:24:03 | 0:24:07 | |
In recent years, Jingdezhen has become sweeter and fresher. | 0:24:13 | 0:24:17 | |
'Porcelain is still being made, but not on the same scale.' | 0:24:17 | 0:24:21 | |
When I first came to the city in the late 1990s, | 0:24:22 | 0:24:27 | |
I looked across the horizon and I counted, on one occasion, | 0:24:27 | 0:24:30 | |
at least 50, or 60, maybe, chimney stacks | 0:24:30 | 0:24:34 | |
all belching greasy black smoke across the city. | 0:24:34 | 0:24:38 | |
'Looking round the shops in Jingdezhen today, | 0:24:38 | 0:24:40 | |
'what we see is a change. The market's moved.' | 0:24:40 | 0:24:43 | |
Huge quantities of domestic wares, | 0:24:43 | 0:24:46 | |
mass production, things made for the everyday kitchen table, | 0:24:46 | 0:24:50 | |
made for us in the West, and things we are familiar with | 0:24:50 | 0:24:54 | |
in the high-street stores, in discount shops, | 0:24:54 | 0:24:57 | |
and a market which we now see moving over | 0:24:57 | 0:25:02 | |
to places like Poland and Taiwan. | 0:25:02 | 0:25:04 | |
It's no longer just made in China. | 0:25:04 | 0:25:07 | |
They're beginning to feel the competition. | 0:25:07 | 0:25:09 | |
'But the potters of Jingdezhen are adept at adapting to survive.' | 0:25:09 | 0:25:14 | |
As porcelain fever gripped the West, | 0:25:20 | 0:25:22 | |
the Chinese were shown objects and images | 0:25:22 | 0:25:24 | |
that we liked, and they were happy to have a stab at them. | 0:25:24 | 0:25:28 | |
Artists switched from traditional motifs | 0:25:29 | 0:25:32 | |
to depictions of people and places they'd never seen - | 0:25:32 | 0:25:36 | |
biblical scenes, images from Old Master paintings, | 0:25:36 | 0:25:40 | |
even erotica. | 0:25:40 | 0:25:42 | |
Special works were commissioned to celebrate great European events | 0:25:42 | 0:25:46 | |
like the Jacobite Rebellion, | 0:25:46 | 0:25:48 | |
which was over by the time the goods reached home. | 0:25:48 | 0:25:51 | |
This was real enterprise, but it wasn't without problems. | 0:25:51 | 0:25:56 | |
Since the Middle Ages, European artists had striven | 0:25:56 | 0:26:00 | |
to give the illusion of depth and distance in painting. | 0:26:00 | 0:26:03 | |
In the Chinese tradition, symbolism was more important. | 0:26:03 | 0:26:07 | |
Chinese decorators didn't have a sense of perspective, | 0:26:08 | 0:26:13 | |
and in one dish, we find that the landscape design | 0:26:13 | 0:26:16 | |
is repeated in the foreground, | 0:26:16 | 0:26:19 | |
instead of putting it into a perspective | 0:26:19 | 0:26:24 | |
that would have been used in Europe. | 0:26:24 | 0:26:26 | |
They were not familiar with the original source. | 0:26:26 | 0:26:30 | |
They didn't know how to depict a European face properly. | 0:26:30 | 0:26:34 | |
Sometimes they have Oriental features. | 0:26:34 | 0:26:38 | |
We also have inscriptions in Latin | 0:26:38 | 0:26:42 | |
that very often contain mistakes | 0:26:42 | 0:26:45 | |
because it was not a language known in China. | 0:26:45 | 0:26:47 | |
Anyone can make a mistake. | 0:26:47 | 0:26:50 | |
Dutch potters, disabled by their own understanding of perspective, | 0:26:50 | 0:26:54 | |
saw images of pagodas that seemed to be the same size as men, | 0:26:54 | 0:26:59 | |
and guessed that they were some sort of vase. | 0:26:59 | 0:27:03 | |
They began producing huge, Chinese-inspired tulip holders. | 0:27:03 | 0:27:08 | |
The potters of Jingdezhen were happy to incorporate artistic traditions, | 0:27:09 | 0:27:13 | |
however barbarian. | 0:27:13 | 0:27:16 | |
Can I interest you in a Henri Matisse, | 0:27:18 | 0:27:20 | |
or maybe in a Modigliani? | 0:27:20 | 0:27:23 | |
Or would you prefer... | 0:27:23 | 0:27:26 | |
a Gauguin... | 0:27:26 | 0:27:28 | |
or a Juan Gris, | 0:27:28 | 0:27:31 | |
or a Claude Monet? | 0:27:31 | 0:27:33 | |
Or we've got irises | 0:27:33 | 0:27:35 | |
and we've got sunflowers. | 0:27:35 | 0:27:38 | |
This is, yes, a garden of Van Gogh. | 0:27:38 | 0:27:41 | |
Each and every one of these vases | 0:27:41 | 0:27:43 | |
has been commissioned by the museum or the art gallery | 0:27:43 | 0:27:46 | |
in Europe or America that has the original artworks | 0:27:46 | 0:27:50 | |
and wants them rendered into three dimensions. | 0:27:50 | 0:27:53 | |
Absolutely amazing. | 0:27:53 | 0:27:55 | |
I had no idea this was going on, | 0:27:55 | 0:27:59 | |
and it just shows you that the 18th-century export-ware trade | 0:27:59 | 0:28:02 | |
is alive and well in the 21st century. | 0:28:02 | 0:28:05 | |
Adaptability kept the kilns of Jingdezhen alight. | 0:28:08 | 0:28:12 | |
But my mission is to explore what made porcelain so sought-after | 0:28:12 | 0:28:16 | |
and so expensive in Europe. | 0:28:16 | 0:28:19 | |
It was, in part, the ability to make something nobody else could. | 0:28:19 | 0:28:23 | |
Today, porcelain is made everywhere. | 0:28:23 | 0:28:26 | |
But here again, Chinese potters still have a unique selling point. | 0:28:26 | 0:28:30 | |
'At the Xiang factory, they make crisp porcelain | 0:28:34 | 0:28:37 | |
'on a monumental scale. It's something so specialised | 0:28:37 | 0:28:41 | |
'that English artist and ceramics professor Felicity Aylieff | 0:28:41 | 0:28:45 | |
'has relocated here, making Jingdezhen the easternmost outpost | 0:28:45 | 0:28:49 | |
'of the Royal College of Art.' | 0:28:49 | 0:28:51 | |
These will come out blue and quite strong. Yeah. | 0:29:06 | 0:29:09 | |
This will come out dry white porcelain. Yeah. | 0:29:09 | 0:29:13 | |
This will be brown, and then the colour under it, | 0:29:13 | 0:29:17 | |
the glaze will bring out the blue. | 0:29:17 | 0:29:20 | |
So from one colour, cobalt, | 0:29:20 | 0:29:22 | |
you've managed to make three tones, | 0:29:22 | 0:29:25 | |
and with the biscuit and the glaze, | 0:29:25 | 0:29:28 | |
you've got at least seven or eight depths of colour. | 0:29:28 | 0:29:31 | |
Yeah. | 0:29:32 | 0:29:34 | |
If you come to Jingdezhen, which is the world's capital - | 0:29:38 | 0:29:43 | |
it's the Porcelain City of China - | 0:29:43 | 0:29:45 | |
there is only that one clay. | 0:29:45 | 0:29:47 | |
'And porcelain has that mystique.' | 0:29:47 | 0:29:50 | |
For me it's very beautiful, it's very pure, | 0:29:50 | 0:29:53 | |
and it's like having a large piece of paper, a large canvas, | 0:29:53 | 0:29:57 | |
for me to express myself with. | 0:29:57 | 0:30:00 | |
To start with, some of the things I was asking them to help me with | 0:30:00 | 0:30:04 | |
were quite alien to their practice. | 0:30:04 | 0:30:07 | |
I thought it was going to be impossible to make anything. | 0:30:07 | 0:30:11 | |
But then you start seeing that they are real masters | 0:30:11 | 0:30:14 | |
of their craft, | 0:30:14 | 0:30:16 | |
and they can do absolutely anything with it at any scale. | 0:30:16 | 0:30:21 | |
There isn't the expertise in England, | 0:30:21 | 0:30:24 | |
and the teamwork, the can-do attitude. | 0:30:24 | 0:30:27 | |
Now there's a new wealth coming in all over China. | 0:30:27 | 0:30:32 | |
People are willing to spend a lot of money on beautiful objects, | 0:30:32 | 0:30:37 | |
and fortunately I love making beautiful objects. | 0:30:37 | 0:30:41 | |
'Every piece of porcelain that left Jingdezhen for Europe | 0:30:46 | 0:30:50 | |
'followed the same route, and I'm going to follow that route too.' | 0:30:50 | 0:30:54 | |
The Acropolis, on a Chinese vase. I've not seen that before. | 0:30:54 | 0:30:59 | |
'The journey itself is, in part, | 0:30:59 | 0:31:02 | |
'what made Chinese porcelain so special. | 0:31:02 | 0:31:05 | |
'Before I set off, I've got to select my own piece to export.' | 0:31:05 | 0:31:10 | |
So you've got underglaze blue, very traditional, very nice, | 0:31:11 | 0:31:15 | |
very pretty. Now, that is Ming... | 0:31:15 | 0:31:17 | |
..in style. | 0:31:18 | 0:31:20 | |
SHE SPEAKS CHINESE Means "replica". OK. | 0:31:20 | 0:31:24 | |
So that goes back. Let's put that back carefully. | 0:31:24 | 0:31:27 | |
Not wildly keen on that. I think the shape of the mouth | 0:31:27 | 0:31:30 | |
is very weak. I'm going to avoid all this very colourful stuff. | 0:31:30 | 0:31:35 | |
SHE SPEAKS CHINESE Great colour. | 0:31:39 | 0:31:42 | |
The mark says Daoguang, 1821 to 1850. | 0:31:42 | 0:31:48 | |
I thought I was going to come in here for a piece of blue-and-white, | 0:31:49 | 0:31:52 | |
but this is rather good. I didn't realise I was going to go pink. | 0:31:52 | 0:31:56 | |
How much? | 0:31:56 | 0:31:58 | |
680. | 0:31:58 | 0:32:00 | |
That's approximately ?70. | 0:32:00 | 0:32:04 | |
How about 480? | 0:32:04 | 0:32:06 | |
SHE REPLIES IN CHINESE | 0:32:06 | 0:32:08 | |
550. | 0:32:08 | 0:32:10 | |
I'll say 500, and that really is my last... | 0:32:10 | 0:32:13 | |
SHE TRANSLATES OK. OK. | 0:32:13 | 0:32:17 | |
OK. OK. We'll call that a deal. | 0:32:17 | 0:32:19 | |
'Pot in box. Time to hit the road - | 0:32:22 | 0:32:24 | |
'which was really a waterway. | 0:32:24 | 0:32:27 | |
'Canton is over 700 miles south of here. | 0:32:28 | 0:32:32 | |
'How did millions of pieces of china make the journey?' | 0:32:32 | 0:32:37 | |
The first leg takes us west by river | 0:32:38 | 0:32:41 | |
down to a vast inland freshwater sea, Lake Boyang. | 0:32:41 | 0:32:45 | |
At least, it's a lake for most of the year. | 0:32:47 | 0:32:50 | |
In the dry season in winter, it dries right back to marshland. | 0:32:50 | 0:32:55 | |
The porters, who, of course, were a specialised guild, | 0:32:55 | 0:32:59 | |
and passed their trade down from father to son, | 0:32:59 | 0:33:02 | |
they knew the weather intimately, | 0:33:02 | 0:33:04 | |
so they would wait for the right weather conditions | 0:33:04 | 0:33:09 | |
for maximum length of journey each day. | 0:33:09 | 0:33:13 | |
So, the porcelain has been made. The order has been delivered | 0:33:15 | 0:33:18 | |
to the merchant in Jingdezhen. It's safely stowed, | 0:33:18 | 0:33:22 | |
and the porter has brought it to the shores of Lake Boyang Hu, | 0:33:22 | 0:33:25 | |
our first major obstacle. We have to cross this lake | 0:33:25 | 0:33:29 | |
and find another river, and head for Canton. | 0:33:29 | 0:33:32 | |
Today, motorboat men make the going easy, | 0:33:44 | 0:33:48 | |
but their ancestors had to use great poles | 0:33:48 | 0:33:51 | |
to push the porcelain barges across. | 0:33:51 | 0:33:54 | |
"Lake Boyang, 30 leagues in compass" - | 0:33:56 | 0:33:59 | |
that's the size of Leicestershire - | 0:33:59 | 0:34:01 | |
"formed by the confluence of four rivers, | 0:34:01 | 0:34:04 | |
each as large as the Loire. It is also subject to hurricanes, | 0:34:04 | 0:34:08 | |
like the seas of China, for in less than a quarter of an hour, | 0:34:08 | 0:34:11 | |
the wind will veer round all the points of the compass, | 0:34:11 | 0:34:14 | |
and sometimes sink the largest of boats." | 0:34:14 | 0:34:17 | |
"In approaching the most dangerous part of the lake, | 0:34:17 | 0:34:20 | |
the temple appears, built on a steep rock, | 0:34:20 | 0:34:23 | |
on the site of which the Chinese mariners burn incense | 0:34:23 | 0:34:26 | |
and sacrifice a cock." | 0:34:26 | 0:34:28 | |
This was not an easy crossing, | 0:34:30 | 0:34:32 | |
and I suspect that, on the bottom of this lake, | 0:34:32 | 0:34:34 | |
there are plenty of barks which have come down over hundreds of years. | 0:34:34 | 0:34:38 | |
There's a whole ceramic history lying on the seabed of Boyang. | 0:34:38 | 0:34:43 | |
It's a shallow lake, easily whipped up. | 0:34:43 | 0:34:45 | |
I think we're lucky, but we've just got to watch out for the pirates. | 0:34:46 | 0:34:50 | |
'In mid-lake, some boatmen would pivot on their poles | 0:34:56 | 0:35:00 | |
'and change course.' | 0:35:00 | 0:35:03 | |
The porcelain wares going up to court | 0:35:03 | 0:35:05 | |
had to be poled across the Boyang lake | 0:35:05 | 0:35:08 | |
down the Yangtze River, and then up the Grand Canal | 0:35:08 | 0:35:12 | |
to Beijing to the capital. | 0:35:12 | 0:35:14 | |
These porcelain masterpieces were never intended to be seen, | 0:35:14 | 0:35:18 | |
let alone touched, by anyone outside the Celestial Empire. | 0:35:18 | 0:35:22 | |
Porcelain that was going overseas had to go south. | 0:35:23 | 0:35:27 | |
The second leg of the journey to the coast | 0:35:27 | 0:35:29 | |
meant a 260-mile haul | 0:35:29 | 0:35:32 | |
through the valley of the River Gan. | 0:35:32 | 0:35:34 | |
The boats were wide, but with a very shallow draft, | 0:35:34 | 0:35:38 | |
river punts designed not for speed but for stability. | 0:35:38 | 0:35:43 | |
They were poled from the rear, or dragged by men with hawsers | 0:35:43 | 0:35:46 | |
on the banks. The cargo weighed tons. | 0:35:46 | 0:35:49 | |
TRAIN WHISTLE HOOTS | 0:35:49 | 0:35:52 | |
'I lay me down by the waters of the Gan | 0:35:52 | 0:35:54 | |
'inside a sleeper train, | 0:35:54 | 0:35:56 | |
'mindful of what the boatmen had had to endure.' | 0:35:56 | 0:35:59 | |
The Gan river is quite shallow, and it does have rapids. | 0:36:01 | 0:36:05 | |
The barges used for the porcelain barrels, | 0:36:05 | 0:36:09 | |
they're weighed down by the porcelain, | 0:36:09 | 0:36:11 | |
so they're fairly stable, but they were difficult and heavy | 0:36:11 | 0:36:14 | |
to pole along, and for long passages of the river, | 0:36:14 | 0:36:18 | |
they were dependent on the power of the human body | 0:36:18 | 0:36:22 | |
to make them move along, and that was very hard work | 0:36:22 | 0:36:26 | |
at points on the river. | 0:36:26 | 0:36:27 | |
The work was sought-after | 0:36:29 | 0:36:32 | |
by men who were able-bodied, | 0:36:32 | 0:36:35 | |
fairly young, because the life of a bargee, | 0:36:35 | 0:36:39 | |
or a boatman, was not very extended. | 0:36:39 | 0:36:42 | |
When your strength gave out, you stopped being able to work | 0:36:42 | 0:36:46 | |
in that profession. | 0:36:46 | 0:36:48 | |
The train makes the journey to Ganzhou by night, | 0:36:51 | 0:36:54 | |
delivering the traveller refreshed | 0:36:54 | 0:36:56 | |
to this creeky, tree-shaded river town | 0:36:56 | 0:36:59 | |
which all through the year | 0:36:59 | 0:37:01 | |
would have been filled with exhausted boatmen. | 0:37:01 | 0:37:04 | |
At this point, the mighty Gan river, rising over in the east | 0:37:13 | 0:37:17 | |
and looping its way round, heads north, | 0:37:17 | 0:37:20 | |
another 200 miles up to Lake Boyang. | 0:37:20 | 0:37:23 | |
And it's against that north-going current | 0:37:23 | 0:37:26 | |
that the boats are coming upstream, | 0:37:26 | 0:37:29 | |
helped by tracker men carrying hawsers on their shoulders | 0:37:29 | 0:37:32 | |
and wading through the shoals, | 0:37:32 | 0:37:34 | |
sometimes in very, very rough water. | 0:37:34 | 0:37:37 | |
And here the river splits, and it's up this second river, | 0:37:37 | 0:37:40 | |
a faster-flowing river, that the barges have to continue | 0:37:40 | 0:37:43 | |
for another 80 kilometres, before finding yet another challenge. | 0:37:43 | 0:37:48 | |
'From here, it would have been an easier voyage downstream | 0:37:51 | 0:37:55 | |
'to Canton, if there hadn't been a mountain in the way.' | 0:37:55 | 0:37:58 | |
The boatmen of the Gan carried their loads to the town of Dayu, | 0:37:58 | 0:38:03 | |
the place where the most hazardous stage of the journey began. | 0:38:03 | 0:38:08 | |
'What was once a pivotal junction is now literally a backwater. | 0:38:11 | 0:38:15 | |
'The river is sluggish, the current switched off higher upstream | 0:38:15 | 0:38:19 | |
'by dams generating electricity. | 0:38:19 | 0:38:22 | |
'Quays that once thronged with stevedores and boatmen | 0:38:22 | 0:38:25 | |
'are now a park. But even that's been abandoned by the gardeners.' | 0:38:25 | 0:38:29 | |
HENS CLUCK | 0:38:31 | 0:38:33 | |
Here it is - a tablet commemorating the trade. | 0:38:33 | 0:38:38 | |
This marks the point of a really important trade route. | 0:38:38 | 0:38:41 | |
And when we're talking important trade route, we're talking not M1. | 0:38:41 | 0:38:44 | |
We're talking Heathrow Airport. In fact you can just see here | 0:38:44 | 0:38:48 | |
the characters for Ming and Qing. | 0:38:48 | 0:38:51 | |
'The trade was private, not state run, | 0:38:55 | 0:38:58 | |
'and there are no figures for the value of the business | 0:38:58 | 0:39:01 | |
'that passed through Dayu, but it lasted for centuries, | 0:39:01 | 0:39:04 | |
'and must, in today's terms, have been worth billions.' | 0:39:04 | 0:39:08 | |
The porcelain's been offloaded from the barges. | 0:39:11 | 0:39:14 | |
It's come up the wharf, and we've been greeted by an army of men | 0:39:14 | 0:39:18 | |
with their sticks who are going to carry this huge burden, | 0:39:18 | 0:39:22 | |
several barge-loads of porcelain, | 0:39:22 | 0:39:25 | |
like ants over the mountain before us. | 0:39:25 | 0:39:28 | |
And men like these, who have been responsible | 0:39:28 | 0:39:30 | |
for building all of China for over 2,000 years - | 0:39:30 | 0:39:34 | |
the Great Wall, the Grand Canal, and even apartment blocks today... | 0:39:34 | 0:39:38 | |
We see men running through the streets with these... | 0:39:38 | 0:39:42 | |
..an elegant sliver of bamboo, | 0:39:44 | 0:39:46 | |
beautifully sprung, like light steel. | 0:39:46 | 0:39:49 | |
And if you get the rhythm right, you can walk with a jaunty step, | 0:39:49 | 0:39:53 | |
which is what I'm going to attempt to do, over the mountain, | 0:39:53 | 0:39:57 | |
the mountain being in that direction. | 0:39:57 | 0:39:59 | |
This for balance, | 0:39:59 | 0:40:01 | |
and my cameraman has very kindly given me some camera kit | 0:40:01 | 0:40:05 | |
to balance my precious vase, | 0:40:05 | 0:40:08 | |
and let's... HE GRUNTS | 0:40:08 | 0:40:10 | |
Ooh! | 0:40:10 | 0:40:12 | |
..see whether we can go. | 0:40:12 | 0:40:14 | |
The porters were headed for a gap in the Nan mountain range. | 0:40:17 | 0:40:22 | |
The Meiling Pass was cut out of the rock | 0:40:22 | 0:40:25 | |
during the Sung Dynasty, a remarkable feat of engineering | 0:40:25 | 0:40:28 | |
by thousands of nameless labourers. | 0:40:28 | 0:40:31 | |
It made the passage just a bit easier - for the porcelain. | 0:40:31 | 0:40:36 | |
You needed brute strength and endurance. | 0:40:40 | 0:40:44 | |
Some men were employed on a full-time basis, | 0:40:44 | 0:40:47 | |
but many men were employed from a large labour force, | 0:40:47 | 0:40:51 | |
and they were picked by the gang-masters | 0:40:51 | 0:40:53 | |
to carry the porcelain up and over. | 0:40:53 | 0:40:57 | |
Ooh! | 0:40:57 | 0:40:59 | |
These guys were fit. | 0:40:59 | 0:41:01 | |
They ate pretty much a very carbohydrate-rich diet, | 0:41:01 | 0:41:06 | |
with a minimum of protein. | 0:41:06 | 0:41:08 | |
Nearly there...or not. | 0:41:11 | 0:41:14 | |
Probably not. | 0:41:14 | 0:41:16 | |
They didn't eat a lot of sugar, | 0:41:18 | 0:41:20 | |
so the Chinese peasant would eat a lot of things like fat, | 0:41:20 | 0:41:23 | |
which we find very distasteful, | 0:41:23 | 0:41:26 | |
but of course it gives you a lot of energy. | 0:41:26 | 0:41:29 | |
The summit in view! | 0:41:29 | 0:41:31 | |
And the great problem always is in eating enough calories | 0:41:33 | 0:41:37 | |
each day to keep you going. | 0:41:37 | 0:41:40 | |
'Paid by the day, most porters were carrying | 0:41:40 | 0:41:43 | |
'more than twice their own bodyweight. | 0:41:43 | 0:41:45 | |
'Years of hill-climbing with loads balanced on one shoulder | 0:41:45 | 0:41:49 | |
'led to appalling physiological trauma.' | 0:41:49 | 0:41:52 | |
I think her plums were lighter than these! | 0:41:52 | 0:41:55 | |
We're here... | 0:42:01 | 0:42:03 | |
..at the top of the Meiling Pass. | 0:42:05 | 0:42:08 | |
I don't believe it. What a climb! | 0:42:08 | 0:42:11 | |
And to think that 99.9 percent of the Chinese porcelain | 0:42:11 | 0:42:16 | |
that we see in the great stately homes of England and of Europe | 0:42:16 | 0:42:19 | |
made this journey, up these very steps, | 0:42:19 | 0:42:22 | |
through this very gateway and on. | 0:42:22 | 0:42:25 | |
A tremendous human effort. | 0:42:26 | 0:42:28 | |
And these men were fit. They were even more wiry than me. | 0:42:28 | 0:42:32 | |
Some of the porters were carrying half a ton | 0:42:32 | 0:42:35 | |
in a case slung between poles, | 0:42:35 | 0:42:38 | |
four men carrying one case up there. | 0:42:38 | 0:42:42 | |
I'm full of admiration, | 0:42:42 | 0:42:46 | |
and even now, I know I shall look differently at Chinese porcelain | 0:42:46 | 0:42:50 | |
in stately homes. | 0:42:50 | 0:42:52 | |
There's the inscription of the emperor Kangxi, | 0:42:52 | 0:42:56 | |
17th-century inscription. | 0:42:56 | 0:42:58 | |
And the inscription above the gateway itself, | 0:42:58 | 0:43:01 | |
saying "the Pass of Heroes". | 0:43:01 | 0:43:04 | |
So, here goes one aspirant hero! | 0:43:06 | 0:43:10 | |
HE GRUNTS | 0:43:10 | 0:43:11 | |
Bye-bye, Jiangxi! Hello, Guangdong. | 0:43:16 | 0:43:20 | |
It was a dangerous route. The cobbles were worn smooth | 0:43:22 | 0:43:26 | |
by millions of footsteps. You would almost rather break your own bones | 0:43:26 | 0:43:31 | |
than break the porcelain. Penalties for dropping or breaking pieces | 0:43:31 | 0:43:35 | |
could be quite high. | 0:43:35 | 0:43:38 | |
'On the other side of the mountain, the stick-stick men could relax, | 0:43:47 | 0:43:51 | |
'their work done. | 0:43:51 | 0:43:53 | |
'The porcelain now moved back onto the waters of the Pearl River.' | 0:43:53 | 0:43:57 | |
This scene of industry has changed very little | 0:43:59 | 0:44:02 | |
in the intervening centuries. | 0:44:02 | 0:44:04 | |
It would have been familiar to traders from the Port of London, | 0:44:04 | 0:44:08 | |
except they were prohibited from coming up-country | 0:44:08 | 0:44:12 | |
to see it for themselves. | 0:44:12 | 0:44:14 | |
With Canton the final port of call in China, | 0:44:16 | 0:44:19 | |
a mere 240 miles downstream, | 0:44:19 | 0:44:22 | |
the boatmen might have been able to take things easier. | 0:44:22 | 0:44:25 | |
These waters are slower moving. | 0:44:27 | 0:44:29 | |
'But there are still dangerous bends, | 0:44:29 | 0:44:32 | |
'and dire penalties for anyone losing a load.' | 0:44:32 | 0:44:35 | |
Let's see whether it's still in one piece. | 0:44:42 | 0:44:46 | |
I have to admit, I did stumble on a couple of occasions on that pass. | 0:44:47 | 0:44:51 | |
Moment of truth... | 0:44:51 | 0:44:53 | |
Phew! Intact. | 0:44:55 | 0:44:57 | |
Great. I'm really pleased. And why pink? | 0:44:57 | 0:45:00 | |
Well, the fact is, I've always liked monochromes, | 0:45:00 | 0:45:03 | |
quite unlike the 18th-century taste, which was for blue-and-white. | 0:45:03 | 0:45:08 | |
And it's not just the colour. | 0:45:08 | 0:45:11 | |
They were interested in seeing a new world, | 0:45:11 | 0:45:14 | |
a faraway world, a world that is exotic - | 0:45:14 | 0:45:17 | |
the Cathay, the mysterious Orient. | 0:45:17 | 0:45:21 | |
And for the first 50 years of the 18th century, | 0:45:21 | 0:45:23 | |
these images, portrayed largely on porcelain | 0:45:23 | 0:45:26 | |
but on fans, silks, and all the other merchandise | 0:45:26 | 0:45:29 | |
that were coming through Canton - | 0:45:29 | 0:45:31 | |
these were the first images that gave Europe en masse | 0:45:31 | 0:45:35 | |
some intimation of what life was like in the Orient. | 0:45:35 | 0:45:38 | |
And they even inspired philosophers such as Voltaire | 0:45:38 | 0:45:41 | |
to imagine that China was this spectacularly well ruled, | 0:45:41 | 0:45:46 | |
well ordered empire, in which everything was just so. | 0:45:46 | 0:45:52 | |
The imagery that one day would spawn the Willow pattern in the West | 0:46:02 | 0:46:06 | |
must have seemed fanciful to our ancestors, | 0:46:06 | 0:46:09 | |
as they sipped their Oolong. | 0:46:09 | 0:46:11 | |
And, of course, it was. | 0:46:11 | 0:46:14 | |
But in the absence of anything else, scenes of rustic activity | 0:46:14 | 0:46:17 | |
amid riverside pagodas were, for those with imagination, | 0:46:17 | 0:46:22 | |
an invitation to dream. | 0:46:22 | 0:46:25 | |
What's so magic about the China trade, really, | 0:46:26 | 0:46:30 | |
is it presents a picture of Asia that nothing else did. | 0:46:30 | 0:46:33 | |
There were no photographs. There were few realistic representations | 0:46:33 | 0:46:38 | |
of what China was really like. | 0:46:38 | 0:46:41 | |
Beneath the glaze there were subtle messages, | 0:46:41 | 0:46:44 | |
Chinese whispers, | 0:46:44 | 0:46:47 | |
if only they'd known how to decode them. | 0:46:47 | 0:46:49 | |
It was completely unfamiliar to a European purchaser. | 0:46:51 | 0:46:55 | |
The depiction of a Chinese landscape is very common in ceramics | 0:46:55 | 0:47:00 | |
in China, and it is really associated with a Taoist concept of life | 0:47:00 | 0:47:06 | |
in an idyllic environment. | 0:47:06 | 0:47:08 | |
Deer with pine trees is associated in China | 0:47:12 | 0:47:16 | |
with longevity, immortality and old age. | 0:47:16 | 0:47:21 | |
Another very popular motif, the rooster amongst peonies, | 0:47:21 | 0:47:25 | |
is associated with success in scholarly achievements. | 0:47:25 | 0:47:31 | |
It was very much an exotic idea | 0:47:31 | 0:47:35 | |
that was informing the knowledge of the East at the time. | 0:47:35 | 0:47:40 | |
These images had meaning | 0:47:44 | 0:47:46 | |
in a culture where ceramics were as well regarded | 0:47:46 | 0:47:49 | |
as paintings or sculpture were in the West. | 0:47:49 | 0:47:52 | |
It was high-concept art, | 0:47:52 | 0:47:54 | |
from which you ate and drank. | 0:47:54 | 0:47:57 | |
In Canton, | 0:48:01 | 0:48:03 | |
the offices of the East India Company had been waiting months | 0:48:03 | 0:48:07 | |
for the porcelain to arrive from somewhere out there. | 0:48:07 | 0:48:10 | |
The porcelain is on its final leg down the great Pearl River, | 0:48:14 | 0:48:18 | |
and one can only imagine what were the thoughts of the merchants, | 0:48:18 | 0:48:22 | |
the supercargoes and captains and the ordinary ratings. | 0:48:22 | 0:48:25 | |
They'd been bottled up here in Canton for the best part of a year. | 0:48:25 | 0:48:28 | |
The barbarians from across the sea | 0:48:31 | 0:48:34 | |
weren't allowed out of the port area, | 0:48:34 | 0:48:36 | |
but mariners of all nations had been permitted | 0:48:36 | 0:48:39 | |
to establish offices, building a waterfront village of sheds | 0:48:39 | 0:48:43 | |
called hongs - warehouses to live in. | 0:48:43 | 0:48:46 | |
This is where the imperial agents, middle men on a percentage, | 0:48:46 | 0:48:51 | |
came to do business with them. | 0:48:51 | 0:48:53 | |
It was very highly regulated. | 0:48:57 | 0:48:59 | |
Not only the company could only trade through one port, | 0:48:59 | 0:49:02 | |
but there were a series of eight regulations. | 0:49:02 | 0:49:05 | |
They weren't supposed to learn the language, | 0:49:05 | 0:49:07 | |
so all the terms of trade were weighted against the foreigners. | 0:49:07 | 0:49:11 | |
They had to trade through intermediaries. | 0:49:11 | 0:49:13 | |
Everything was weighed so that the terms of trade for the company would be as weak as possible. | 0:49:13 | 0:49:18 | |
They didn't see Europeans in any way as equal trading partners, | 0:49:18 | 0:49:23 | |
and really Europeans, and in particular the English, | 0:49:23 | 0:49:26 | |
never understood that. | 0:49:26 | 0:49:27 | |
But the Chinese just saw them as humble petitioners to the empire. | 0:49:27 | 0:49:33 | |
'Today, flower beds in a very pedestrian precinct | 0:49:34 | 0:49:38 | |
'mark the spot where the hongs once stood - | 0:49:38 | 0:49:41 | |
'blooms that are a monument to these early global traders. | 0:49:41 | 0:49:44 | |
'Life in the sheds was basic.' | 0:49:49 | 0:49:52 | |
But these were men used to a wooden world, | 0:49:52 | 0:49:55 | |
and at least this one wouldn't sink. | 0:49:55 | 0:49:57 | |
They'd spend their time amassing the cargo they'd sail home with, | 0:49:57 | 0:50:01 | |
smelling spices and lacquer, | 0:50:01 | 0:50:04 | |
chasing rats and listening to the rain. | 0:50:04 | 0:50:07 | |
What did we have that the Chinese didn't have? | 0:50:09 | 0:50:12 | |
What could we trade with? Well, there was broadcloth, | 0:50:12 | 0:50:16 | |
there was copper, there was tin - | 0:50:16 | 0:50:18 | |
raw materials, not manufactured goods. | 0:50:18 | 0:50:21 | |
And it was the manufactured goods of southern China | 0:50:21 | 0:50:24 | |
that interested the Englishmen. | 0:50:24 | 0:50:26 | |
We wanted those great rich brocades, the silks, the wallpapers, | 0:50:26 | 0:50:31 | |
furniture, silver - but of course, maybe above all, porcelain. | 0:50:31 | 0:50:35 | |
So that early trade was very unequal - | 0:50:35 | 0:50:39 | |
we, the Western barbarians, | 0:50:39 | 0:50:41 | |
and the Chinese, the civilised empire. | 0:50:41 | 0:50:44 | |
A love affair it certainly was, | 0:50:44 | 0:50:47 | |
but with time it would become even more than that, | 0:50:47 | 0:50:49 | |
because this was the beginning of two great empires | 0:50:49 | 0:50:53 | |
coming together, the collision of world powers, | 0:50:53 | 0:50:56 | |
over the chink of china. | 0:50:56 | 0:50:59 | |
Customers in Britain didn't mind waiting for their boat to come in. | 0:51:06 | 0:51:10 | |
They knew that porcelain came from a long way away, | 0:51:10 | 0:51:13 | |
and owning it told people you valued things of quality | 0:51:13 | 0:51:16 | |
that were not easily won. | 0:51:16 | 0:51:19 | |
Of course, you had to get the neighbours into your parlour | 0:51:19 | 0:51:22 | |
for them to discover this. | 0:51:22 | 0:51:24 | |
Porcelain was very suitable for drinking hot liquids, | 0:51:24 | 0:51:28 | |
and you could pour almost-boiling, or even boiling liquids | 0:51:28 | 0:51:33 | |
into your porcelain teapot without it cracking, | 0:51:33 | 0:51:37 | |
and you could then pour those red-hot liquids | 0:51:37 | 0:51:40 | |
into little porcelain cups. | 0:51:40 | 0:51:42 | |
These are rare and valuable items | 0:51:42 | 0:51:44 | |
that have travelled halfway around the world. | 0:51:44 | 0:51:47 | |
They are expensive, and so they're very highly desirable | 0:51:47 | 0:51:51 | |
as a means of expressing your wealth. | 0:51:51 | 0:51:53 | |
But they do something else as well. They show refinement | 0:51:53 | 0:51:56 | |
and discernment, because to appreciate something like this, | 0:51:56 | 0:51:59 | |
you've got to understand this. It comes from a different world, | 0:51:59 | 0:52:03 | |
outside western Europe. | 0:52:03 | 0:52:05 | |
This shows you're aware there are other countries, | 0:52:05 | 0:52:08 | |
there are other value systems, which are different from your own. | 0:52:08 | 0:52:12 | |
The 18th century saw the emergence of a merchant class, | 0:52:13 | 0:52:17 | |
new money wanting old-money luxuries. | 0:52:17 | 0:52:20 | |
But there was a problem. | 0:52:20 | 0:52:23 | |
By 1720, Chinese porcelain had become widely available. | 0:52:23 | 0:52:27 | |
Bespoke porcelain dinner services bearing the family coat of arms | 0:52:27 | 0:52:32 | |
became all the rage - so the new luxury became exclusivity. | 0:52:32 | 0:52:39 | |
The East India Company took orders for around 5,000 sets, | 0:52:39 | 0:52:43 | |
and every one tells a tale. | 0:52:43 | 0:52:44 | |
One of the best stories concerns the service | 0:52:44 | 0:52:48 | |
still preserved at Shugborough Hall in Staffordshire, | 0:52:48 | 0:52:51 | |
seat of the Anson family, earls of Lichfield. | 0:52:51 | 0:52:54 | |
'This one wasn't commissioned. It was earned.' | 0:52:54 | 0:52:58 | |
In 1743, Commodore Anson of His Majesty's Navy | 0:53:01 | 0:53:05 | |
was approaching the coast of China. On board his vessel, | 0:53:05 | 0:53:08 | |
the Centurion, was a load of red-fruit trees. | 0:53:08 | 0:53:12 | |
He arrived in Canton with his crew, only to find that there was a fire. | 0:53:12 | 0:53:17 | |
He dispatched his crew. They helped to put out the fire, | 0:53:17 | 0:53:20 | |
and the eternally grateful merchants of Canton | 0:53:20 | 0:53:23 | |
decided to give him a very special gift. | 0:53:23 | 0:53:26 | |
And there it is. | 0:53:38 | 0:53:40 | |
This coat of arms, rather an extraordinary one - | 0:53:40 | 0:53:43 | |
not quite the correct Anson coat of arms, | 0:53:43 | 0:53:46 | |
because he's anticipating becoming ennobled. | 0:53:46 | 0:53:49 | |
That happens only five years later, after taking the French fleet | 0:53:49 | 0:53:53 | |
at Finistere. So somewhat eccentric, | 0:53:53 | 0:53:56 | |
and the crest at the top... | 0:53:56 | 0:53:58 | |
But best of all, the views on the side. | 0:53:58 | 0:54:03 | |
This is Plymouth Sound, | 0:54:04 | 0:54:07 | |
Edison Lighthouse, various European ships | 0:54:07 | 0:54:11 | |
bobbing along on the horizon. | 0:54:11 | 0:54:13 | |
And then, little bit of a surprise, a junk. | 0:54:13 | 0:54:17 | |
And opposite Plymouth Sound, | 0:54:17 | 0:54:19 | |
a place that all the European sailors sailing to China | 0:54:19 | 0:54:23 | |
would know very well, the Whampoa Anchorage. | 0:54:23 | 0:54:26 | |
So this plate is exceptional. | 0:54:26 | 0:54:29 | |
Multiply this dish up with all of the pieces you see here, | 0:54:29 | 0:54:33 | |
over 200 pieces made in Jingdezhen, | 0:54:33 | 0:54:35 | |
and then to be carried right the way through China, | 0:54:35 | 0:54:39 | |
across the Meiling Pass, down into Canton, | 0:54:39 | 0:54:42 | |
and then multiply all of that by the thousands of services | 0:54:42 | 0:54:46 | |
commissioned for England alone, | 0:54:46 | 0:54:49 | |
and you begin to get some idea of the physical labour involved | 0:54:49 | 0:54:53 | |
in getting this to the other side of the world. | 0:54:53 | 0:54:56 | |
'Dragged from the earth, born in fire, | 0:54:59 | 0:55:02 | |
'and carried across the waters of the deep, | 0:55:02 | 0:55:05 | |
'armorial porcelain ended up as an instrument of one-upmanship, | 0:55:05 | 0:55:09 | |
'trumpeting your lineage and infuriating rivals.' | 0:55:09 | 0:55:13 | |
The greed and ambition have evaporated, | 0:55:13 | 0:55:16 | |
but the porcelain remains unchanged by the passing of the years. | 0:55:16 | 0:55:21 | |
On one hand it's now just antique china - | 0:55:22 | 0:55:25 | |
on the other, a unique historical artefact. | 0:55:25 | 0:55:30 | |
'Porcelain makes time travel possible.' | 0:55:30 | 0:55:33 | |
So, you're walking through a country house on a Sunday afternoon, | 0:55:37 | 0:55:40 | |
and you see a lovely blue-and-white bowl on the table, | 0:55:40 | 0:55:43 | |
and you think, "That's pretty." When somebody tells you | 0:55:43 | 0:55:46 | |
that this belonged to Queen Elizabeth I, | 0:55:46 | 0:55:49 | |
and maybe to Sir Francis Drake before then, | 0:55:49 | 0:55:51 | |
I guarantee that you see this piece differently. | 0:55:51 | 0:55:55 | |
Its value changes in your mind, | 0:55:55 | 0:55:58 | |
because somebody has given you a story, | 0:55:58 | 0:56:02 | |
an authentic story, with provenance. | 0:56:02 | 0:56:04 | |
Today, the most expensive porcelain you can buy at auction | 0:56:04 | 0:56:08 | |
happens to be Chinese - not Chinese for the West, | 0:56:08 | 0:56:11 | |
but the Chinese for themselves, for the emperor. | 0:56:11 | 0:56:15 | |
If you're a Chinese billionaire, | 0:56:15 | 0:56:17 | |
you want to own something that has that story. | 0:56:17 | 0:56:21 | |
You want to be in touch with the Qianlong emperor, perhaps. | 0:56:21 | 0:56:25 | |
And if somebody can convince you that the vase that you're looking at | 0:56:25 | 0:56:29 | |
really did belong to the Qianlong emperor, | 0:56:29 | 0:56:32 | |
then we have authenticity, and once we have that, | 0:56:32 | 0:56:36 | |
we're talking not of hundreds of pounds, | 0:56:36 | 0:56:39 | |
not of tens of thousands of pounds, | 0:56:39 | 0:56:41 | |
but of millions. | 0:56:41 | 0:56:44 | |
Of course, if you don't know its story, its provenance, | 0:56:45 | 0:56:48 | |
even an important piece is just an old pot | 0:56:48 | 0:56:51 | |
covered in mysterious imagery. | 0:56:51 | 0:56:54 | |
All those little pictures on the yellow bit mean things, | 0:56:54 | 0:56:57 | |
like those two fish at the top. | 0:56:57 | 0:57:00 | |
They're paper fish, and they turn to dragons when you pass exams. | 0:57:00 | 0:57:05 | |
Eh? Apparently. | 0:57:05 | 0:57:08 | |
In November 2010, | 0:57:09 | 0:57:11 | |
this pot turned up among some mid-20th-century items | 0:57:11 | 0:57:15 | |
in a house-clearance sale in Middlesex. | 0:57:15 | 0:57:18 | |
No-one in the family could remember where it had come from, | 0:57:18 | 0:57:21 | |
and they'd used it for storing umbrellas. | 0:57:21 | 0:57:24 | |
It had been valued by a local antiques dealer at ?800. | 0:57:24 | 0:57:28 | |
But the auction house had a feeling about it. | 0:57:28 | 0:57:31 | |
And so did the bidders, who'd come from near and very far. | 0:57:34 | 0:57:38 | |
Lot 800 now, the vase. | 0:57:38 | 0:57:41 | |
?1 million, ladies and gentlemen. Putting it in, 200,000. | 0:57:45 | 0:57:48 | |
Four million. Five million. ?10 million. | 0:57:48 | 0:57:51 | |
15 million is bid. | 0:57:51 | 0:57:53 | |
Prices may have changed in line with inflation... | 0:57:53 | 0:57:56 | |
20 million now. 30 million is bid. | 0:57:56 | 0:57:59 | |
..but the lure of porcelain is eternal. | 0:57:59 | 0:58:02 | |
40 million, ladies and gentlemen. 41 million. | 0:58:02 | 0:58:05 | |
The fever is as virulent as it ever was. | 0:58:05 | 0:58:08 | |
42,500,000. | 0:58:08 | 0:58:11 | |
The Bainbridge vase is the most expensive Chinese artwork | 0:58:11 | 0:58:14 | |
ever to come to auction - for the moment, at least. | 0:58:14 | 0:58:18 | |
At ?43 million... | 0:58:18 | 0:58:22 | |
..sold! CHEERING / APPLAUSE | 0:58:23 | 0:58:25 | |
Subtitles by Red Bee Media Ltd | 0:58:38 | 0:58:42 | |
E-mail [email protected] | 0:58:42 | 0:58:46 | |
. | 0:58:46 | 0:58:46 | |
HE PANTS | 0:59:06 | 0:59:08 | |
CAR HORN BLARES | 0:59:09 | 0:59:10 |