On The Porcelain Age

THE IDEOLOGY OF THE PORCELAIN AGE

The Crafts and technology are not separated…the craftsman who creates is intimate with the technology of PRODUCTION…there is a focus on the utilitarianism of the arts as well; see Russian constructivism.

Art serves to promote and center the ethical positivism of its existence through the augmentation or birth of a myriad OTHER industrious forms of which the society focuses itself on; humanism in its form is expressed through the technological achievement of the everyday man, and the craftsman, artist, and inventor are frequently overlapped; there were no WORKERS, only apprentices of a craft, and the production line is seen as something to be automated and an utterly worthless human endeavor. There is a need for mass production in export, but it is looked down upon as a menial and ugly labor and best suited for imported labor or the use of Furnace Machines and Automatons.

Art serves as a seed, a painting should be used and appropriated in the ornamentation of technology, a sculpture as the product of an intimate technology of production that is well understood and practiced by the craftsman, so that he may apply what he learns into the creation of other technologies or pieces of craft.

THE CITY AND ITS INHABITANTS

Above: A typical household usually had a bottom floor for the selling of goods, and a workshop for the production of goods for export. Many were raised in such an environment from birth, and the city government freely gave grants and generous schemes to its citizens toward such a venture.

The City served as a harbor capital, it was known as the finest crafts city of the Empire Age, and prided itself on the exporting of masterful, beautiful works of technology and industry. Of its 3 Million Inhabitants, more than half of its households engaged in the crafts and industry of production, and its reputation as a central hub of the utilitarian application of the arts attracted constant talent from across the empire, architects, engineers, metalworkers, and of course, the artists, painters who yearned for the chance of patronage by the top industries and companies within the cities, so that they may decorate in ivory, rare paints and oils, gold and silver, their wondrous works of technology which had started to spread across the empire.

Of note was its use of coal, steam, and the fabled electricity that sparked a revolution and will to imitate the glory of the harbour City and its technological marvels, clothed in the finest gold, silver, and silks. Even when mass production was kept to a minimum, the sheer amount of people and households engaged in  self production and the strive for excellence and beauty in their own homes and personal workshops, ensured a certain quality. Many households, from humble beginnings, could one day rise into a famed workshop of its own right, and the citizens sent their children to the academies of industry, craft, and paint for free so they would continue the cities proudest of traditions; the marriage of the Human Spirit, Art, and Technology.