An art of porcelain painting in aspects of the professional socialization


  • Inese Brants Art Academy of Latvia



socio-economic interaction between artists – producers – consumers, professional stratification, social background of typology of the porcelain painting art


This report will take a brief look at socio-economic relation between porcelain painting artists, producers and consumers. The author will be drawing from the author’s experience gained in the visiting and resident time in more than 10 European porcelain factories, collaboration with Art universities, leading the Porcelain painting workshops at International Art Teacher and Porcelain Painting Symposia in Latvia and abroad. Personal experience and studying of International Porcelain painters organization home pages and over 100 china painters websites made it possible to analyze and compare the possibility of vocational training, the artist's creative career opportunities, professional literature and the membership in the professional organizations and institutions. Porcelain painting art is ceramic technology – based result of individual creativity. The socio-economic relation interaction between artist, producer and consumer marked historically important stages of development of the porcelain painting art. The education plays the crucial importance on the social integration processes of artist. The professional stratification and integration process realizes in the there distinct and isolated groups of porcelain painters – 1. An artists integrated in the porcelain industry. 2. An artists integrated in the ceramic art structures. 3. Artists integrated in the china painters organized structures. Balance between self-expression needs and material needs of the individual artist inability to self-realization problems. Internal needs depended on the artist as creative personality viability in porcelain factory. The opportunity to create personal studio contribute to the development of porcelain painting art, but the artist does not guarantee the competitiveness of the market and material support to the existence. The need to ensure the existence powered of professional socialization processes that result in porcelain painting artists replace existing or fit into other professional and public bodies. Latvia has its own tradition of porcelain art and great artists, but their creative potential sales opportunities in today's socio-economic conditions have not been investigated. In Latvia no more exist first group – in porcelain industry integrated artists, because porcelain industry no more existed. The third group, have not developed because the Latvian artists are not integrated into the International World China Painters organizations. In Latvia Porcelain painting as a hobby art are not very popular, so the knowledge and skills of porcelain painting is not yet a product of the request. The author reveals the socio-economic stratification of professional interaction – induced effects on an artist's creative performance and points to the social background to create a typology of porcelain painting art objects.


Download data is not yet available.

Author Biography

  • Inese Brants, Art Academy of Latvia, the Candidate for Ph.D., the head of children and youths’ centre “Laimite”, the workshop of china painting Since 1989 – the member of Latvia Artists’ association; since 1995 – the head of china painting symposiums in the arts centre of Latvia Artists’ association in Zvartava. In 2003 Master’s degree in arts was acquired in Art Academy of Latvia; 2009-2012 doctoral studies at Art Academy of Latvia; the topic of research: the painting techniques of china upper glazing. Participation at international conferences and in projects.


Savage, G., Newman, H. (2000). All Ilustrated Dictionary of Ceramics. London : Thames & Hudson.

Schuster, B. (2008). The Porcelain Museum. Edition Leipzig.

Skott, P. (1994). Ceramics and Print. A & C London,: A & C.

Lewing, P. (2007). China Paint & Overglaze. By The American Ceramic Society.

Baranovska, I., Ļaviņa, D., Nemiševa, L., Raudzepa, V., Zībiņa, Z. (2012). Rīgas mākslas porcelāns 1925-1940. Izstādes katalogs. Latvijas Nacionālais mākslas muzejs.

Rīgas Porcelāna Muzejs. (b. g.). Skatīts 15.05.2013.

Benjamins, V. (2005). Mākslas darbs tā tehniskās reproducējamības laikmetā. Iluminācijas. Rīga: LMC.

Počs, J. (2008). Kultūras industrija un tās nozīme tautsaimniecībā. Konferences „Laikmetīgā māksla Latvijā” referāta tēzes, Rīga.

Luhmann, N. (2000). Art As a Social System. Stanford University Press.

Vadlīnijas Nacionālā krājuma priekšmetu vērtības noteikšanai naudas izteiksmē. Ministru kabineta noteikumi Nr. 956. (21.11.2006., Rīga, prot. Nr. 61 5.§). Noteikumi par Nacionālo muzeju krājumu. 6. pielikums. Skatīts 16.05.2013.

Ministru kabineta noteikumi Nr. 1102, Rīgā 29.09.2009. (prot. Nr. 63 8.§). Grozījumi Ministru kabineta 21.11.2006. noteikumos Nr. 956 “Noteikumi par Nacionālo muzeju krājumu”. Skatīts 18.07.2013.

Ineses Brants fotoattēli: Nr. 1., Nr. 2., Nr. 3., Nr. 4., Nr. 5., Nr. 6., Nr. 7., Nr. 8.




How to Cite

Brants, I. (2013). An art of porcelain painting in aspects of the professional socialization. ARTS AND MUSIC IN CULTURAL DISCOURSE. Proceedings of the International Scientific and Practical Conference, 125-134.