Yuan Dynasty Porcelain (Beijing Cultural Relics Appreciation Series)

Author: Ma Xigui
Publisher:
Publishing Date: 2005-01-01
Features: The porcelain industry of the Yuan Dynasty was a continuation and development of the Song and Jin porcelain industries. Yuan porcelain, situated between the two peaks of Song and Ming-Qing porcelain production, exhibited a clear transitional nature. On one hand, traditional products from some famous kilns of the Song and Jin periods, such as Cizhou Kiln, Jun Kiln, Jingdezhen Kiln, and Longquan Kiln, continued to be produced. Notably, Longquan and the kilns saw an increase in large-sized pieces due to export demand, and production scales expanded significantly. On the other hand, in the mid-to-late Yuan Dynasty, Jingdezhen officially produced new varieties such as blue-and-white porcelain, underglaze red, cobalt blue glaze, copper red glaze, and eggshell glaze, laying the foundation for its future status as the porcelain capital. During the Yuan Dynasty, under the rule of the Yuan regime, northern Ding Kiln and Yaozhou Kiln had declined, while Jun Kiln and Cizhou Kiln continued to thrive. The production center of the Jun porcelain system remained in Yuxian County, Henan. During this period, the influence of Jun porcelain surpassed that of the Song Dynasty, with kilns producing Jun porcelain widely distributed in Henan, as well as in Hebei and Shanxi, forming a Jun porcelain system. Unlike the Song and Jin periods, Yuan Jun porcelain had thicker, rougher, and porous bodies, with sand particles and sandholes, and the body color was dark gray or yellowish-brown. The bonding between the body and glaze was less tight than that of Song Jun porcelain, with coarse glaze, large bubbles, and pinholes. The color was generally moonwhite or bluish-gray, with occasional purplish-red spots on some pieces, which were intentionally applied rather than the natural diffusion of copper elements in the glaze at high temperatures. The thick glaze often flowed naturally but did not reach the bottom, with the foot unglazed, revealing a deep yellow or light brown body. Yuan Jun porcelain was generally plain without patterns, though some standing vessels like jars, pots, and bottles had molded or appliqué decorations, which were often blurred. Common Yuan Jun porcelain forms included plates, bowls, jars, jars, bottles, and basins. Bowls were typically constricted at the mouth, tapered at the belly, and had small ring feet, with a chicken-heart-shaped protrusion at the center of the foot left by wheel trimming. Jars often had straight mouths or shallow dish mouths, straight necks, bulging bellies, and three small pointed or animal feet, with some having handles. Compared to Song Jun porcelain, Yuan Jun porcelain left a larger number of pieces in circulation, but its value differed greatly from that of Song Jun porcelain, primarily due to its rough body, stiff glaze, and abundance. Yuan Dynasty already had blue-and-white porcelain, and the production of underglaze red had become relatively mature. Underglaze red was a traditional painted porcelain, a significant achievement of Jingdezhen porcelain production during the Yuan Dynasty. The only imperial kiln during the Yuan Dynasty was in Jingdezhen, and all imperial wares bore the "Shufu" mark. Yuan porcelain had thick glaze, often imitating Jun porcelain, with sky-blue glaze mixed with purple spots being highly prized. Patterns included incised, printed, and carved designs. This period introduced techniques such as kiln transformation, blue-and-white porcelain, and underglaze red, creating conditions for underglaze decoration and later overglaze decoration. During this period, while some porcelain retained the traditional techniques of the Song Dynasty, such as incised, carved, and printed designs, a new method of painting with brushes on the body was also developed. Porcelain painted with colored materials and then fired was called "" (colored porcelain). "" was generally divided into two categories: "overglaze" and "underglaze." Patterns were painted on the body before glazing and firing, known as "underglaze." Patterns were added to finished porcelain and then fired in a kiln, known as "overglaze." The blue-and-white and underglaze red porcelain of this period belonged to "underglaze." New colors, (five-color), and (famille rose) that appeared after the Ming Dynasty all fell under the category of "overglaze." In summary, the Yuan Dynasty, building on the development of previous porcelain traditions, also made innovations and creations, writing a glorious chapter in the history of world ceramics. The outstanding achievements of Yuan porcelain, whether in form, decoration, or production techniques, laid a solid foundation for the further development of the Ming and Qing porcelain industries. The influence of Yuan porcelain in the history of international cultural exchange was also profound.