The Beauty of Celadon: Longquan and Beyond
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Celadon, with its subtle green glaze reminiscent of jade, is one of the most iconic ceramic styles of the Song Dynasty. The celadon of this era was especially notable for its purity of color, smooth texture, and elegant forms. Celadon from this period is highly prized by collectors and museums around the world. The development of Celadon ware in the Song dynasty is one of the era's most important contributions to ceramics.  The Longquan kilns in Zhejiang province were one of the primary centers for celadon production during the Song Dynasty. These kilns produced celadon of exceptional quality, with thick, lustrous glazes and elegant forms. Longquan celadon became famous for its quality and is still readily identified today. The kilns of Longquan were a major economic and artistic force.  Other regions, such as Yaozhou in Shaanxi province, also produced their own distinctive styles of celadon. Yaozhou celadon is characterized by its more incised or carved designs, which create a subtle texture beneath the glaze. Yaozhou ware demonstrates the diversity within the Celadon tradition. The kilns of this era also made significant contributions to the arts.  The beauty of celadon lies not only in its exquisite glaze but also in the simplicity and elegance of its forms. Celadon wares were often inspired by natural shapes, with gentle curves and smooth surfaces that invite touch and contemplation. The forms highlight the beautiful quality of the glaze. The enduring appeal of celadon lies in its timeless elegance and its embodiment of the ideals of Song Dynasty aesthetics. The simple, pure elegance of Celadon is still highly prized by collectors. The legacy of celadon is an important part of the ceramic tradition. |
Tag : Celadon, Longquan celadon, Song Dynasty, Chinese ceramics, Yaozhou celadon
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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.
Song Dynasty blackwares, including Jian and Jizhou, feature diverse and artistic dark glazes like "hare's fur," “oil spot,” and decorative techniques, showcasing the range and creativity of Song potters.
While Song ceramics are often celebrated for their rare and exquisite pieces made for the imperial court, a wealth of utilitarian wares were also produced for everyday use. These pieces, while perhaps less elaborate than court ceramics, exhibit a refined sense of beauty and practicality, demonstrating the ubiquitous presence of ceramics in Song Dynasty life. These pieces are an important window into everyday life during this period.
Jian ware tea bowls, produced in the kilns of Jianyang (modern-day Fujian province), are among the most revered ceramics of the Song Dynasty. Characterized by their dark, often black, glazes, often displaying a unique hare's fur or oil spot effect, Jian ware tea bowls were particularly prized by Zen Buddhist monks and tea connoisseurs for their aesthetic and functional qualities. The dark hues and varied patterning made them ideal for showcasing the light colour of the tea itself.
Jun ware, produced in kilns in Henan province, is distinguished by its vibrant, opalescent glazes, which range in color from sky blue to lavender, crimson, and even deep purple. Unlike the more restrained celadons and monochromes of the Song Dynasty, Jun ware is known for its dramatic splashes of color and bold, expressive forms. The vibrant colour palette makes them stand out from the more muted forms of Song Dynasty pottery.