Blue and white porcelain, also known as "bai lan ci" in Chinese, is one of the most iconic forms of traditional Chinese ceramics. It belongs to the category of underglaze porcelain, where cobalt-based pigments are painted onto the ceramic body before being covered with a transparent glaze and fired at high temperatures. The result is a striking blue color that remains vibrant and stable after firing. This type of porcelain has been highly valued for its strong coloring power, bright hues, and durability.
The origins of blue and white porcelain can be traced back to the Tang Dynasty, though it was during the Yuan Dynasty that mature blue and white porcelain emerged from the Hutian Kiln in Jingdezhen, often considered the birthplace of this art form. By the Ming Dynasty, blue and white had become the dominant style in Chinese ceramics, and during the reign of Emperor Kangxi in the Qing Dynasty, it reached its peak in both technique and artistic expression.
Throughout the Ming and Qing periods, various styles of blue and white porcelain were developed, including peacock green glaze, bean green glaze, red-over-blue, yellow ground blue and white, and more. These variations reflected not only technical advancements but also evolving aesthetic preferences.
**Tang Dynasty Blue and White Porcelain**
During the Tang Dynasty, blue and white porcelain was still in its early stages. Archaeological finds such as over 20 pieces discovered in Yangzhou in the 1970s and 1980s, along with artifacts in museums like the Hong Kong Feng Pingshan Museum, the Boston Museum of Fine Arts, the Copenhagen Museum, and the Nanjing Museum, provide evidence of its early development. These pieces feature rich blue tones, crystal spots, and low-manganese, low-iron cobalt materials, likely imported from Central and Western Asia.
The porcelain was thick and loosely fired, with a yellowish glaze and a grayish tone. Most items were small, including bowls, jars, and covers, with floral motifs. Some pieces, like the fish algae jar in Denmark, suggest that Tang blue and white was primarily made for export, given the location of Yangzhou as a major port during that time.
**Song Dynasty Blue and White Porcelain**
After the Tang, blue and white porcelain saw little development. Only a few fragments have been found, such as those unearthed in Zhejiang Province, dating back to the Northern Song era. These pieces featured chrysanthemum, circular, and line patterns. The blue pigment varied in intensity, possibly due to differences in glaze thickness or local cobalt usage.
**Yuan Dynasty Blue and White Porcelain**
By the Yuan Dynasty, blue and white porcelain had matured significantly. The introduction of a "porcelain + kaolin" formula increased the Al₂O₃ content, leading to higher firing temperatures and less deformation. The bodies were heavier and more robust, with a slightly grayish-yellow tone. The glaze was either white or translucent, with varying levels of opacity.
Cobalt used in the Yuan period came from both domestic and imported sources. Domestic cobalt produced a bluish-green or gray-black hue, while imported material yielded a deeper, richer blue with rust marks. Many pieces combined both types of cobalt, showing advanced techniques.
Ornamentation was intricate, with full compositions and layered designs. Common themes included dragons, phoenixes, flowers, and poetic inscriptions. The dragon motif, in particular, was characterized by a small head, thin neck, long body, and grid-like scales.
**Ming and Qing Blue and White Porcelain**
The Ming and Qing dynasties marked the golden age of blue and white porcelain. During the Yongle and Xuande periods of the Ming, it reached its artistic peak, with exquisite craftsmanship and elegant designs. In the Qing Dynasty, especially under Emperor Kangxi, blue and white porcelain evolved further with the introduction of multi-colored glazes and detailed painting.
However, after the Qianlong period, the popularity of pastel porcelain led to a decline. Though there was a brief revival during the Guangxu era, the glory of the Kangxi period was never fully restored. Official kilns produced refined and precise pieces, while folk kilns offered more freeform and expressive styles.
In the late Ming period, blue and white painting began to incorporate elements of traditional Chinese painting, reflecting a broader artistic evolution.
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