The History of Chinese Ceramics

Description

Adopting the perspective of anthropology of art and combining it with global academic insights, this book helps the readers to recognize that “history is, in great measure, the record of human activity which spreads from the local to the regional, from the regional to the global, and from the global to the universal.” Readers will learn that China was not only the first country to create porcelain, but also the first to export it to the world, both the products and its techniques. Therefore, the history of Chinese ceramics reflects the history of Chinese foreign trade on the one hand and depicts the expansion of Chinese ceramic techniques and cultures on the other. In addition to ceramics types, molds, decoration, and techniques, the book analyzes the spiritual impacts and aesthetic conceptions embodied in the utensils of daily use by the Chinese literati. Therefore, it reaches the conclusion that ideological systems and not technological systems are what bring about social revolutions. In addition, the book is richly illustrated with pictures of earthenware and finely glazed pieces from later periods. Preface Introduction—Viewing Ceramics History Through the Lens of the Anthropology of Art: A New Approach Overview Cultural Diffusion and Global Interaction Migration, Assimilation and Cultural Communication Iconographic Representations in Utensils Intrinsic Elements from Sacred to Secular Interactions Between Official Kilns and Folk Kilns Scholar Culture and Aesthetic Values of Ceramics Ceramics of the Yuan, Ming, and Qing Dynasties are Popularized Understanding Chinese Society Through Ceramic History Ancient China as a Plebeian Society The Early Maturing Chinese Culture Ancient China as a Manufacturing Power The Contemporary Value of Chinese Ceramic History Research Writing Ideas Contents 1 Earthenware of the Neolithic 1.1 Introduction 1.1.1 Origin of Earthenware 1.1.2 Significance of the Emergence of Earthenware 1.2 Pottery of the Early and Middle Neolithic 1.2.1 Site Locations 1.2.2 Materials and Forms 1.2.3 Shape and Decoration 1.3 Pottery of the Late Neolithic 1.3.1 Emergence of Painted Pottery 1.3.2 Painted Pottery Archaeological Sites 1.3.3 Cultural Connotations of Painted Pottery Patterns 1.3.4 Artistic Value of Painted Pottery Patterns 1.3.5 Emergence and Development of Black Pottery 1.3.6 Elements Contributing to Black Pottery Style 1.3.7 Primitive Pottery and Emerging Chinese Values 2 Ceramics of the Xia and Shang Dynasties 2.1 Introduction 2.1.1 Pottery in the Bronze Age 2.1.2 Development of Pottery Production in the Xia and Shang Dynasties 2.2 Gray Pottery of the Xia and Shang Dynasties 2.2.1 Materials and Shapes of Xia and Shang Gray Pottery 2.2.2 Changes and Development in Shang Gray Pottery 2.3 White Pottery of the Xia and Shang Dynasties 2.3.1 Origins and Development 2.3.2 Special Features 2.4 Imprinted Hard Pottery of the Xia and Shang Dynasties 2.4.1 Making and Firing 2.4.2 Development 2.5 Primitive Porcelain of the Shang Dynasty 2.5.1 Significance of the Emergence of Primitive Porcelain 2.5.2 Improvement and Development of Primitive Porcelain 2.6 Conclusion 2.6.1 Invention of Porcelain and Its Impact 2.6.2 Shared Artistic Vocabulary of Ceramics and Bronze 3 Ceramics of the Zhou Dynasty 3.1 Introduction 3.1.1 Cultural Relationship Between the Xia and Shang and the Zhou Dynasty 3.1.2 The Nobility and the Workers 3.2 Gray Pottery 3.3 Imprinted Hard Pottery and Primitive Porcelain 3.4 Architectural Pottery 3.5 Conclusion 3.5.1 Collapse of Primitive Religious Patterns 3.5.2 Drinking Vessels and Dou as Sacrificial Ware 3.5.3 The Rites of Zhou and Its Aesthetics 4 Ceramics of the Spring and Autumn and Warring States Periods 4.1 Introduction 4.1.1 An Era of Cultural Transformation 4.1.2 Frontier Expansion and Diversification of Ceramic Types 4.2 Gray Pottery in the Spring and Autumn and Warring States Periods 4.2.1 Gray Pottery and Daily Life 4.2.2 Gray Pottery and Burial Objects 4.2.3 Modeling and Decorations of Gray Pottery 4.3 Imprinted Hard Pottery 4.4 Primitive Porcelain 4.5 Pottery with Painting and Other Pottery Burial Objects 4.6 Architectural Pottery 4.7 Conclusion 4.7.1 Tendency Towards Secular Preferences in Ceramic Types 4.7.2 Changes in Shape Brought by a New Lifestyle 4.7.3 Increases in Decorative Subject 5 Ceramics of the Qin and Han Dynasties 5.1 Introduction 5.1.1 Transition from Aristocratic Society to Plebeian Society 5.1.2 Ceramic Production Within the New Cultural Context 5.2 Gray Pottery 5.2.1 Types 5.2.2 Development of Gray Pottery Burial Objects in the Han Dynasty 5.2.3 Decoration of Gray Pottery in the Han Dynasty 5.3 Lead-Glazed Pottery of the Han Dynasty 5.3.1 Origins 5.3.2 Types and Features 5.4 Primitive Porcelain of the Qin and Han Dynasties 5.4.1 Development 5.4.2 Appearance of Mature Porcelain at the End of Eastern Han 5.5 Pottery Sculptures of the Qin and Han Dynasties 5.5.1 Pottery Sculptures of the Qin Dynasty 5.5.2 Pottery Sculptures of the Early and Middle Western Han 5.5.3 Pottery Sculptures of the Late Western Han and Eastern Han 5.6 Architectural Pottery of the Qin and Han Dynasties 5.6.1 Picture Bricks of the Han Dynasty 5.6.2 Eave Tiles of the Qin and Han Dynasties 5.7 Conclusion 6 Ceramics of Wei, Jin and Southern and Northern Dynasties 6.1 Introduction 6.1.1 Fusion of New Ethnic Groups 6.1.2 Introduction of Buddhism 6.1.3 Development of a New Ceramics Industry 6.2 Celadon of Wei, Jin and Southern and Northern Dynasties 6.2.1 Celadon Production in the South 6.2.2 Celadon Production in the North 6.2.3 Shape Design and Decoration of Celadon 6.2.4 Achievements and Features of Celadon 6.3 Black and White Porcelain of Wei, Jin and the Southern and Northern Dynasties 6.4 Pottery Vessels, Burial Pottery, and Architectural Pottery of Wei, Jin and Southern and Northern Dynasties 6.4.1 Pottery Vessels 6.4.2 Burial Pottery 6.4.3 Architectural Pottery 6.5 Appearance of Porcelain Burial Objects 6.6 Export Porcelain Following the Han and Jin Dynasties 6.7 Conclusion 7 Ceramics of the Sui, Tang and Five Dynasties 7.1 Introduction 7.1.1 Creation of a Strong Country and Open Society 7.1.2 New Urban Layout and Development of the Crafts Industry 7.1.3 Civil Service Examination System and the Life of Scholar Elites 7.1.4 Tea Culture and Porcelain 7.1.5 Cultural Communication Brought by Foreign Population 7.2 Celadon of the Sui and Tang Dynasties 7.2.1 Celadon of the Sui Dynasty 7.2.2 The Yue Kilns of the Tang and Five Dynasties 7.2.3 “Secret-Color Porcelain” of the Tang and Five Dynasties 7.2.4 Celadon Other Than Yue Ware of the Tang and Five Dynasties 7.3 White Porcelain of the Sui, Tang and Five Dynasties 7.3.1 Xing Kilns 7.3.2 Non-Xing Kilns 7.4 Underglaze Decorated Porcelain and Other Porcelains of the Tang and Five Dynasties 7.4.1 Underglaze Decorated Porcelain 7.4.2 Other Porcelains of the Tang Dynasty 7.5 Tricolor Pottery of the Tang Dynasty 7.5.1 Firing Techniques and Kiln Locations 7.5.2 Functions and Decorative Techniques 7.5.3 Tricolor Pottery Statues 7.6 Blue and White Porcelain of the Tang Dynasty 7.6.1 Market of Tang Blue and White Porcelain 7.6.2 Origin and Kilns 7.6.3 Transportation of Exported Tang Blue and White Porcelain 7.7 Export of Ceramics During the Sui, Tang and Five Dynasties 7.7.1 Export Routes and Ports 7.7.2 Export of Yue Celadon 7.7.3 Export of White Porcelain, Tricolor Porcelain and Blue and White Porcelain 7.7.4 Export of Changsha Kiln Porcelain 7.7.5 Overseas Dissemination of Chinese Ceramic Technology in the Tang Dynasty 7.8 Conclusion 7.8.1 An Era of Cultural Assimilation 7.8.2 Expression of Humanistic Creativity in Ceramics 7.8.3 Emergence of the Scholar Culture in Ceramic Art 8 Ceramics of the Song, Liao and Jin Dynasties 8.1 Introduction 8.1.1 Dawn of a New Era 8.1.2 A Prospering Urban Economy 8.1.3 A Flourishing Urban Culture 8.1.4 Development of the Ceramics and Crafts Industries 8.2 Porcelain Kilns in the North 8.2.1 Northern White Porcelain and the Ding Kilns 8.2.2 The Cizhou Kilns 8.2.3 The Yaozhou Kilns 8.2.4 The Jun Kilns 8.2.5 The Ru Kilns 8.2.6 Northern Song Guan Kilns 8.3 Porcelain Kilns in the South 8.3.1 The Jingdezhen Kilns 8.3.2 The Guan Kilns in the Southern Song Dynasty 8.3.3 The Ge Kilns 8.3.4 The Longquan Kilns 8.3.5 The Jizhou Kilns 8.3.6 The Jian Kilns 8.3.7 The Dehua Kilns 8.4 Ceramics of the Liao Dynasty 8.4.1 Shangjing Circuit 8.4.2 Zhongjing Circuit 8.4.3 Dongjing Circuit 8.4.4 Nanjing Circuit 8.4.5 Xijing Circuit 8.4.6 Modeling and Decorating Characteristics of Liao Porcelain 8.4.7 Tricolor Buddha Statues in the Liao Dynasty 8.4.8 Contribution of Liao Dynasty’s Porcelain Industry 8.5 Porcelain of the Jin Dynasty 8.5.1 The Ding Kilns 8.5.2 The Jun Kilns 8.5.3 The Yaozhou Kilns 8.5.4 The Cizhou Kilns 8.6 Foreign Trade in Ceramics During the Song Dynasty 8.6.1 Maritime Ceramics Export Routes 8.6.2 Overseas Trade in the Song 8.6.3 Kilns Producing Export Ceramics in Coastal Areas in the Song Dynasty 8.6.4 New Information Introduced by Ancient Ceramics Recently Raised from Sea 8.7 Conclusion 8.7.1 Characteristics of the Northern Kilns 8.7.2 Characteristics of the Southern Kilns 8.7.3 Aesthetic Features of Song Ceramics 9 Ceramics of the Yuan Dynasty 9.1 Introduction 9.1.1 Establishment of the Mongol Empire 9.1.2 The Shift in Ceramic Production from North to South 9.1.3 A Reappraisal of Ceramic Research on the Yuan Dynasty 9.2 The Jingdezhen Kilns 9.2.1 Important Factors Contributing to the Development of the Jingdezhen Kilns 9.2.2 Jingdezhen Blue and White Porcelain 9.2.3 The Fuliang Ceramic Bureau and Egg-White Porcelain 9.2.4 Yuan Shufu Porcelain 9.2.5 Yuan Underglazed Red, Copper Red and Cobalt Blue Porcelain 9.3 The Yuan Longquan Kilns 9.3.1 Development 9.3.2 Designs and Glaze 9.3.3 Styles and Varieties 9.3.4 Decorations 9.4 Kilns in Other Southern China Regions 9.4.1 The Qingbai Kilns 9.4.2 The Wuzhou Kilns 9.4.3 The Jizhou Kilns 9.4.4 The Jian Kilns and the “Tea Horse Trade” 9.4.5 The Dehua Kilns 9.4.6 Yunnan Blue and White Porcelain 9.5 Kilns in Northern China 9.5.1 The Ding and Huo Kilns 9.5.2 The Jun Kilns 9.5.3 The Yaozhou Kilns 9.5.4 The Cizhou Kilns 9.6 Pottery of the Yuan Dynasty 9.7 Porcelain Exports in the Yuan Dynasty 9.8 Conclusion 9.8.1 Design 9.8.2 Glaze and Decorations 9.8.3 Artistic Features 9.8.4 External Factors Affecting the Formation of the Style of Blue and White Porcelain and Its International Influence 10 Ceramics of the Ming Dynasty 10.1 Introduction 10.1.1 Changes in Social, Cultural and Economic Structures 10.1.2 International Trade Prospers 10.1.3 Jingdezhen Becomes the National Porcelain Production Center 10.2 Jingdezhen Porcelain in the Early Ming Dynasty 10.2.1 Establishment of the Imperial Vessels Factory 10.2.2 The Imperial Vessels Factory and Ritual Wares 10.2.3 Division of Labor and Technical Features in the Imperial Vessels Factory 10.2.4 Influence of the Imperial Vessels Factory on the Ceramics Industry in Jingdezhen 10.2.5 Production Varieties of the Official Kilns 10.2.6 Production Varieties and Artistic Features of Private Kilns 10.3 Jingdezhen Porcelain in the Mid-Ming Dynasty 10.3.1 Interaction Between Official Kilns and Private Kilns 10.3.2 Jingdezhen Porcelain Under the Reigns of Emperors Zhengtong, Jingtai and Tianshun 10.3.3 Jingdezhen Porcelain Under the Reigns of Emperors Chenghua and Hongzhi 10.3.4 Jingdezhen Porcelain in the Reign of Emperor Zhengde 10.3.5 Artistic Style in the Mid-Ming Period 10.4 Jingdezhen Porcelain in the Late Ming Dynasty 10.4.1 Opening Up of Overseas Markets 10.4.2 Reform Measures in the Imperial Vessels Factory 10.4.3 The Development of Capitalism 10.4.4 Ceramics Industry in Jingdezhen 10.4.5 The Rise and Fall of Private Kilns During the Tianqi and Chongzhen Periods as Evidenced in Foreign Documentation 10.4.6 The Significance of the Independent Development of the Private Kilns in Jingdezhen 10.5 Ceramic Industries Outside Jingdezhen 10.5.1 The Dehua Kilns 10.5.2 The Zhangzhou Kilns 10.5.3 The Chaozhou Kilns 10.5.4 Yunnan Blue and White Porcelain 10.5.5 Guangxi Blue and White Porcelain 10.5.6 Yixing Wares 10.5.7 The Shiwan Kilns 10.6 The Burgeoning Maritime Trade in Porcelain During the Ming Dynasty 10.6.1 Ports for Ceramic Export in the Ming Dynasty 10.6.2 Export Routes for Jingdezhen Porcelain in the Ming Dynasty 10.6.3 The European Market Preference for Chinese Blue and White Porcelain 10.6.4 Sample-Ordered Porcelain for the European Markets 10.6.5 Blue and White Porcelain Produced in Other Countries 10.7 Conclusion 10.7.1 An Era Dominated by Polychrome Porcelain 10.7.2 Artistic Features of Ming Ceramics 10.7.3 The Influence of Literati Paintings on Porcelain 10.7.4 Influence of Ming Woodcut Paintings on Porcelain 10.7.5 The Impact of International Trade on Ceramic Styles 11 Ceramics of the Qing Dynasty 11.1 Introduction 11.1.1 Influence of Qing Emperors on the Culture of the Time 11.1.2 The Pursuit and Recovery of “Practical Learning” 11.1.3 The Boom in Handicrafts and Commerce in the Early Qing Dynasty 11.1.4 Foreign Trade in Porcelain During the Qing Dynasty 11.1.5 Difficulties Faced by China in the Late Qing Dynasty 11.2 Jingdezhen Porcelain in the Early Qing Dynasty 11.2.1 Prosperity and Development 11.2.2 Jingdezhen in the Eyes of Europeans 11.2.3 Reform of the Imperial Kilns 11.2.4 The Export of Private Porcelain 11.2.5 Jingdezhen Porcelain in the Early Qing Period 11.3 Jingdezhen Porcelain in the Mid-Qing Dynasty 11.3.1 Official and Private Kilns Boom 11.3.2 Reform in the Treatment of Products of the Official Kilns that Failed to Qualify 11.3.3 Porcelain Production Under the Reign of Emperor Yongzheng 11.3.4 Porcelain Production Under the Reign of Emperor Qianlong 11.4 Jingdezhen Porcelain in the Late Qing Dynasty 11.4.1 Transition from Peak to Trough 11.4.2 Jingdezhen Porcelain During the Jiaqing, Daoguang and Xianfeng Periods 11.4.3 The Demise of Jingdezhen Following the Tongzhi Period 11.4.4 Jingdezhen Porcelain During the Tongzhi, Guangxu and Xuantong Periods 11.4.5 Division of Labor 11.4.6 Guilds in Jingdezhen 11.5 Ceramic Industries Outside Jingdezhen 11.5.1 The Yixing Kilns in Jiangsu 11.5.2 The Shiwan Kilns in Guangdong 11.5.3 The Dehua Kilns in Fujian 11.5.4 The Chenlu Kilns in Tongchuan 11.5.5 Others 11.6 Porcelain Export in the Qing Dynasty 11.6.1 Opening of the Port of Guangzhou 11.6.2 Foreign Trade Agencies in Guangzhou 11.6.3 Islands Related to the Porcelain Trade Near Guangzhou 11.6.4 Production and Trade of Export Porcelain in the Qing Dynasty 11.6.5 How Europeans Ordered Chinese Porcelain 11.6.6 Chinese Features of Export Porcelain 11.6.7 Japanese Features of Export Porcelain 11.6.8 East Asian Features of Export Porcelain (Red and Green Porcelain) 11.6.9 European Features of Export Porcelain 11.6.10 Qing Porcelain’s Influence on Western Culture 11.6.11 The Spread of Chinese Porcelain Making Techniques in Europe 11.6.12 Porcelain Trade Since the Second Half of the 18th Century 11.6.13 Western Research on the Chinese Porcelain Trade 11.7 Conclusion 11.7.1 Overview 11.7.2 Masculine Beauty and the Educational Function of Ceramic Art in the Early Qing Period 11.7.3 The Mid-Qing Period—An Aggregating Era for Ceramic Art 11.7.4 The Popularization of Auspicious Motifs in the Mid-Qing Period 11.7.5 The Popularization of Ancient-style Porcelain in the Late Qing Period 11.7.6 Downfall of the Chinese Ceramics Industry in the Late Qing and Republic of China Eras 11.7.7 Final Thoughts Afterword Index