I n the 17th century, the Dutch dominated international trade in goods from the Far East. When the ships sailing in from China were unloaded, the arrival of an amazing new material, called porcelain, was to have a profound influence on the visual arts in Europe.

If you want to discover why, one of the world's finest collections of oriental ceramics is on our doorstep in Blenheim Palace, Woodstock Clive Stewart Lockhart of Dreweatt Neate, the auctioneers at Donnington Priory near Newbury., specialises in oriental works of art.

"My great grandfather lived in Hong Kong and China - and my mother was born in Japan. These family connections meant I grew up surrounded by interesting objects from the orient," he said.

"My first job was in administration at Sotheby's. My office was on the floor above the oriental department, so I saw some fine pieces coming and going. When I came to Dreweatt Neate 24 years ago, I made it my specialisation."

He reckons it is still possible to build up a superb collection of Chinese antiques.

Wealthy Chinese people are now coming to the UK to buy because so many precious antiques were destroyed during the Cultural Revolution in the 1960s. What effect is this having on prices?

"It has had an enormous impact. The Internet has transformed the auction room. Collectors from around the world can see our catalogue. The wealthy Chinese collector is mostly looking for the oldest and best. They are not interested in the pieces made for the European market in the 17th and 18th centuries. The prices of great pieces of early Ming dynasty and Yuan dynasty are soaring. The Chinese collectors also like late Imperial enamels of the Ching emperors."

What objects are available at specialist sales?

"Provincial salerooms tend to be offered 17th and 18th-century Chinese export goods and mainly 19th and 20th-century Japanese art, objects and ceramics. Buddhas are popular and unusual collectable items. We had a stunning lacquered games box and contents in our June sale. There are usually exquisite snuff bottles made from precious materials and fine enamelled items. "

How do you know they are authentic? What advice would you give to avoid fakes?

"This is a huge problem because the Chinese are so good at reproducing items that are doing well in the saleroom. Bronzes, because they are cast, are the most difficult to tell apart. But it is hard to fake the patina that comes with age. Look hard at pieces in museums, stately homes and on the stands of expert dealers. Develop an eye for the patina and look for signs of wear and tear at the edges, which indicate age. Traditionally, auction houses have sold on the basis of caveat emptor - buyer beware. Nowadays, most reputable firms have to stand by descriptions.

I certainly would stand by mine. Buy from auctioneers and dealers you can trust while you gain knowledge and confidence.

Can you give examples of what you can buy for £100, £200 or £1,000 ?

"In general, it is always best to buy perfect pieces but if you don't mind a little damage, you can purchase some early pieces of ceramics at £100 and under. It is also a good way of learning by handling.

"Until recently, you could even acquire flawed early Ming pieces (Ming 1368-1644) at under £100. That is changing. Late 18th and early 19th-century famille rose plates and tea bowls and saucers are very attractive and can be bought for around £100. For £200 the fieldis huge.

"You can buy ceramics, works of art like ivories and bronzes, Japanese woodblock prints and Chinese watercolours on rice paper. A lovely set of 38 prints sold for £260 plus commission in June.

"The best advice is to specialise. Don't get too ambitious when it comes to variety. Decide what you like and try to concentrate on that field.

"For £1,000 you can buy fantastic pieces. This is when you need to be careful. The world is your oyster but you want that oyster to be perfect.

"In this price range, condition is very important. In our June sale, the highest price was £19,500 plus 17.5 per cent commission for a pair of 84cm Kangxi ovoid vases and covers.

"Despite my earlier comment, these were damaged, but the price is a reflection of the hot' market in fine ceramics driven by new Chinese buyers.

If you could choose one item out of the sale for yourself, what would it be and why?

"I would have loved the 47cm Rouleau vase with Guan ti in a mountainous landscape. It was repaired, but still fetched £5,200 because it was a very fine piece. When it comes to buying, I also have to consider my wife, who doesn't share my passion for oriental ceramics. So I am more modest in my acquisitions."

What books, magazines or websites would you recommend to a reader who wants to learn more on the subject?

"The main thing is to see and handle as much as possible. My preferred reference book is actually an excellent out of print edition with a rather dull sounding title. Called World Ceramics, it is edited by Robert Charleston and published by Hamlyn. There are currently about 25 copies available through www.abebooks.co.uk, or a good secondhand book dealer should be able to locate a copy for you.

"If you catch the bug and become an enthusiast, then join the Oriental Ceramics Society (www.ocs-london.com)."

The Ashmolean Museum in Oxford has a wonderful oriental section although some parts are closed during the new building work. Also in Oxford, The Pitt Rivers Museum has interesting collections of Japanese and Chinese ivories. Compton Verney, near Banbury also has a superb display of Chinese bronzes.