Blue and white porcelain, also known as "blue and white" or "white and blue porcelain," is one of the most significant types of Chinese ceramics, classified as underglaze porcelain. It is created by painting designs using cobalt-based pigments on a ceramic body, then covering it with a transparent glaze before firing it at high temperatures in a reducing atmosphere. After firing, the cobalt turns a deep blue, offering vibrant color, strong staining power, and excellent durability. The origins of blue and white porcelain can be traced back to the Tang and Song dynasties, but it was during the Yuan Dynasty that mature blue and white porcelain emerged from the Hutian Kiln in Jingdezhen. By the Ming Dynasty, it had become the dominant style of Chinese porcelain, reaching its peak during the reign of Emperor Kangxi in the Qing Dynasty. Over time, various styles were developed, such as peacock green glaze blue and white, bean green glaze blue and white, red-and-blue porcelain, yellow ground blue and white, and glazed blue and white.
**Development History**
**Tang Blue and White**
During the Tang Dynasty, blue and white porcelain was still in its early stages. Archaeological finds, including over 20 pieces unearthed in Yangzhou in the 1970s and 1980s, as well as artifacts in collections like the Hong Kong Feng Pingshan Museum, the Boston Museum of Fine Arts, the Copenhagen Museum, and the Nanjing Museum, provide insight into this period. These pieces show a rich blue color with crystal spots, likely due to low-manganese, low-iron cobalt material—possibly imported from Central and Western Asia. The clay was thick and loosely packed, with a grayish tone, and the glaze was often yellow and thick. Most items were small, including bowls, jars, and covers, with floral patterns. The design combined traditional Chinese motifs with geometric shapes, suggesting that these pieces were primarily made for export, given Yangzhou's role as a major port during the Tang era.
**Song Blue and White**
After the Tang, blue and white porcelain did not develop quickly. Only a few pieces have been found, such as 13 blue and white bowls discovered in Jinsha Tataji, Longquan County, Zhejiang Province, in 1957, and a fragment of a bowl found in Shaoxing in 1970. These pieces had thinner walls and featured patterns like chrysanthemums, circles, and lines. The blue pigment varied in color, likely due to differences in glaze thickness. Cobalt was probably sourced locally in Zhejiang, and there is little direct connection to Tang blue and white.
**Yuan Blue and White**
By the Yuan Dynasty, blue and white porcelain reached maturity, especially in Jingdezhen. The addition of kaolin improved the strength and reduced deformation during firing. The porcelain bodies were thick and heavy, with a slightly grayish-yellow color. The glaze was either white or milky, and the cobalt used came from both domestic and imported sources. Domestic cobalt produced a blue-green hue, while imported cobalt gave a richer, more vivid blue with rust marks. The decoration was elaborate, featuring dragons, phoenixes, flowers, and poetic inscriptions. Patterns included lotus petals, sea waves, clouds, and banana leaves, all painted with precision and vitality.
**Ming and Qing Blue and White**
The Ming and Qing dynasties marked the golden age of blue and white porcelain. During the Yongle and Xuande periods of the Ming Dynasty, it reached its artistic peak, known for its elegant craftsmanship. Under Emperor Kangxi of the Qing Dynasty, blue and white porcelain evolved further, with multi-colored designs becoming popular. However, after the Qianlong era, its popularity declined with the rise of famille rose porcelain. Despite a brief revival in the late Qing, it never regained the glory of the Kangxi period. Official kilns produced refined, detailed pieces, while folk kilns offered more free-spirited, expressive designs. By the late Ming period, blue and white painting began incorporating elements of traditional Chinese brushwork, marking a new artistic direction.
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