Beijing Cultural Relics Appreciation -- Yuan Dynasty Porcelain

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 celadon kilns saw an increase in large-sized vessels due to export demands, and production scales were generally expanded. On the other hand, the middle and late Yuan Dynasty Jingdezhen kilns 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, when the region was under Mongol rule, the 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 Yuci 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, often with sand particles and sandholes, and the body color was dark gray or earthen yellow. The body and glaze adhesion was less tight than that of Song Jun porcelain, with coarse glaze, large bubbles, and pinholes. The glaze color was generally creamy white or bluish-gray, with occasional purplish-red spots intentionally applied rather than the natural diffusion of copper elements in the glaze during high-temperature firing. The thick glaze often flowed naturally and did not reach the bottom, leaving the foot unglazed and exposing a deep yellow or light brown body. Yuan Jun porcelain was generally plain without patterns, though some vases, jars, and bottles had molded or applied decorations, which were often blurred. Common Yuan Jun porcelain forms included plates, bowls, jars, vases, basins, etc. 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. Vases often had straight or shallow dish mouths, straight necks, bulging bellies, and three small pointed or animal feet, with some featuring ears. Compared to Song Dynasty Jun porcelain, Yuan Jun porcelain left a larger number of pieces in circulation, but its value differed greatly, primarily due to the rough and loose body, stiff glaze, and high quantity in existence.
By the Yuan Dynasty, blue-and-white porcelain already existed, and underglaze red firing had become relatively mature. Underglaze red was a traditional painted porcelain technique and a significant achievement of Jingdezhen porcelain production in 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 pale blue glaze mixed with purple spots being highly prized. Patterns and designs included incised, printed, and carved decorations. This period introduced techniques such as kiln transformation, blue-and-white porcelain, and underglaze red, creating conditions for underglaze and overglaze decorations.
During this period, in addition to retaining some of the porcelain-making traditions of the Song Dynasty, such as incised, carved, and printed decorations, a new method of painting designs with brushes on the body was developed. Porcelain painted with colored pigments and then fired was called "" (Color Porcelain). "" was generally divided into two categories: "overglaze" and "underglaze." Patterns were painted on the body before glazing and firing, known as "underglaze," while decorations were added to fired porcelain and then fired again in a kiln, called "overglaze." The blue-and-white and underglaze red porcelain of this period fell under the category of "underglaze." New techniques such as new colors, (Five-Color), and (Famille Rose) that appeared after the Ming Dynasty "overglaze."
In summary, the Yuan Dynasty, building upon the foundations of previous porcelain developments, made both innovations and creations, writing a glorious chapter in the history of world ceramics for the nation. The outstanding achievements of Yuan porcelain, whether in form, decoration, or firing 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.