THINK of colorful, historical and mythical figures, and it evokes images of expensive Italian ceramics. These ceramics were called majolica that deeply influenced early European porcelain manufacturers.

In Italy, Faenza enjoys a unique status in porcelain industry because of its priceless majolica production. It is also home to a famous exhibition venue — International Museum of Ceramics in Faenza.

Thanks to its precious international ceramic heritage, the museum has been included in the “monument testifying a culture of peace,” following the UNESCO program of 2000 that is devoted to the peace culture.

The world’s largest ceramic museum recently brought hundreds of exhibits to Zhejiang Museum. Visitors are learning about Italy’s ceramic history and admiring its multifarious collections through the exhibits.

According to archives, Italy’s glazed pottery dates back to the middle period of Roman Empire. They shared similar styles with Oriental Byzantine artifacts. However, the manufacturing methods changed with the advent of the Islamic tin-glazed techniques that quickly spread in the country, leading to the creation of a prototype of majolica.

As the exhibits show, proto-majolica featured geometrical and vegetal motifs, emblems, epigraphs and animal patterns in brown, green and blue colors. Most of the antiques were shaped in jugs, albarello (a classic variety of majolica jar), vases and basins.

In the late 14th century, the majolica began to emboss with blue decorative patterns with Gothic styles. Usually, the outline was in brown and the embossment was colored in green.

The Gothic designs continued in the 15th century. Floral patterns with a central flower and circled curled leaves dominated that period. Meanwhile, the designs began to infuse with exotic ornaments, including Persian palm and peacock feather.

A displayed albarello is painted in Arabic-style floral patterns. Based on Persian designs that imitated bamboo (the traditional manufacturing material), the jar is cylindrical with a slightly concave waist. Such jars served both functional and decorative purposes in traditional apothecaries and pharmacies, and represented status and wealth.

The ceramics were refined and brightened in the 16th century because Chinese style blue-and-white porcelains began to influence the majolica. Italian artisans integrated Oriental styles with Renaissance paintings that quickly led to a surge in the production volume.

Another exhibit is a Chinese-style conch, which was a symbol of Chinese ceramics when Marco Polo arrived in China. Venice explorers used shells to refer to seafood and Oriental porcelains.

The bowl distinguishes itself from traditional Chinese porcelains in the background colors. It is gray-bluish glazed and ornamented with floral motifs. Such patterns were called “berettino” and thrived in Venice and Faenza.

At the same time, human images and figures became more common on vessels. At first, the paintings were simplified and idealized, like lady portraits on love-themed ceramics.

Then, they began to evolve and became more and more complicated since the drawing techniques changed. Mythological, religious, historical and allegorical stories frequently appeared, which to some extent epitomized Renaissance-era majolica.

A plate, that measures 28 centimeters in diameter, has a painting of hero Perseus beheading Medusa. It shows Athena giving a shield to protect Perseus. Medusa’s blood is incarnated into a winged horse in the end.

When colorful, elaborated porcelains gained popularity, a new simple, plain style evolved during the 16th and 17th centuries. It was named “compendiario” and featured blue, yellow and orange colors with white glaze.

This style was also known as “whites of Faenza.” The porcelains were coated with a layer of thick glaze and usually themed in figures and circled garland. Artisans used different manufacturing methods to create new designs, like harpies, paws of lions and dolphins in Baroque style.

The “whites of Faenza” on display take on minimalist styles compared with the exhibits from the previous century. One of the antiques is painted with the story of Isaac making a pact with Abimelech.

The “whites of Faenza” were produced in large scale in the 17th century. At the time, luxury Baroque and simple minimalist styles both developed further.

Also, a new blue calligraphic pattern featuring vegetal and zoomorphic motifs frequently appeared on the artifacts.

Chinese porcelains and textile products in Islamic market inspired this pattern, which originated in Faenza and was widely copied by other potters. It was the result of prosperous trade between Europe and Asia during that period. The exhibits on display typify this style.

Chinese porcelains were largely distributed to Europe during the 17th century, but the Chinese style came into being in the 18th century — “Chinoiserie” featured blue and white colors, Oriental flowers, pagodas and figures.

A colorful plate on display is painted with a pavilion with up-turned eaves that was clearly influenced by Chinese architecture. The pavilion is surrounded with palms and infused Oriental and Western elements.

Besides Chinese style, a new type of porcelain also originated during that time. The so-called creamware had a good malleability that was fit for shaping and embossing. A “third firing” technique was applied to create uncommon magenta color which made it possible to glaze rosy patterns.

A set of tablewares is ornamented with rosy outline and reddish purple paintings, which made it more brilliant than previous porcelains. Oriental floral designs are vividly depicted due to the amplified colors.

Around the middle of 19th century, a vintage fashion swept Italy, and the antiqued Renaissance and luxury styles became a rage. Potters were inspired by the ancient designs and manufactured a batch of large-size products, including amphorae, tables and fireplaces.

Glittering gold glaze was reused to present mythical stories in Renaissance style. For example, the plate themed on Cupid was wrapped with a layer of red and gold glaze, and ornamented with a round of garland.

Painting techniques also evolved and paintings became more and more realistic. A showcased plate portraying three homeless girls at a beach is integrated with watercolor and oil painting styles, reflecting a period when drawing and glazing technology were at their peak in Italy.

Date: Through May 25 (closed on Mondays)

Address: Wulin Pavilion of Zhejiang Museum, No. 6, West Lake Cultural Square

Admission: Free