Blackwares of the Song Dynasty: Jian and Beyond
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While celadon and white porcelains are often highlighted, the blackwares of the Song Dynasty also hold an important place in the ceramic tradition. These dark-glazed ceramics, often produced at kilns like Jian and Jizhou, demonstrate the range and creativity of the Song potters. Blackwares demonstrate the range of glaze techniques used in the period.  Jian ware, produced in Fujian province, is particularly famous for its “hare’s fur” and “oil spot” glazes. These effects were created by the iron content of the glaze and the precise firing conditions. These techniques showcase the potters’ mastery of materials. Jian ware tea bowls are highly prized for their beauty.  Jizhou ware, also produced during the Song Dynasty, is known for its decorative techniques, which included paper-cut stencils, leaf imprints, and painted designs. Jizhou pieces often have a folk art quality to them. Jizhou represents a more rustic quality than some of the other wares of the era.  The forms of blackwares are often simple and functional, including bowls, tea bowls, and bottles. The focus was on highlighting the beauty of the glaze and its texture. The forms are simple and understated, allowing for the beauty of the glazes to stand out. The blackwares of the Song Dynasty demonstrate the diversity and experimentation that characterized this era of ceramic production. They stand in contrast to the more elegant white wares, but are still an important part of the story of Song ceramics. Black wares have their own unique artistic aesthetic. |
Tag : Song blackware, Jian ware, Jizhou ware, Chinese ceramics, Hare’s fur glaze
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Guan ware and Ge ware, both associated with the Southern Song Dynasty, are known for their distinctive crackled glazes, which were caused by the different contraction rates of the glaze and the ceramic body. These wares, which are also often referred to as “crackled ware”, exhibit a wide variety of crackle patterns, from fine “fish roe” patterns to more pronounced “ice crackle” patterns.
The forms, glazes, and decorative motifs of Song Dynasty ceramics often reflect a deep appreciation for nature, with potters drawing inspiration from the natural world. The incorporation of natural elements is a clear indicator of the importance of nature in Tang artistic thought.
Song Dynasty kilns, such as those in Longquan, Ding, Jun, and Jian, were centers of experimentation and artistic innovation, advancing kiln technology, glaze effects, and the training of potters, leading to a diversity of high-quality ceramic styles.
The Song Dynasty is often regarded as the golden age of Chinese ceramics, and Song celadon stands as a pinnacle of ceramic artistry. Characterized by its subtle green hues, ranging from pale jade to deep olive, Song celadon is celebrated for its elegant forms, smooth glazes, and understated decoration. Unlike the vibrant, multi-colored wares of the preceding Tang Dynasty, Song celadons embraced simplicity and a harmonious balance between form and glaze. The focus shifted to the intrinsic beauty of the material and the nuanced shades achieved through masterful kiln firing.
The Song Dynasty saw the flourishing of tea culture, and ceramics played a central role in the rituals and practices surrounding tea consumption. Specific types of tea bowls, teapots, and other tea wares were developed to enhance the tea-drinking experience. The ritualistic elements of tea consumption made the ceramic pieces important elements of daily life in the Song period.