Ceramics rooted in China

Ceramics first appeared in China’s Shang Dynasty and was truly born in the Eastern Han Dynasty 2,000 years ago. In the changing of dynasties, the development of ceramics has never been interrupted. Increasingly sophisticated manufacturing technology and craftsmanship have brought China’s ceramics to one peak after another. Each dynasty has shone with the bright light of ceramics and written legends in the history of world ceramics. From the Tang Dynasty to the Qing Dynasty, from celadon to blue and white, from north to south, from official kilns to private kilns, from poetry to tea scriptures, from art to philosophy, the history of ceramics is like an epic interpretation of ancient China’s politics, economy, culture, social life and philosophical thoughts. So ceramics is also called china.

 

Today’s China is still reviving the legend of ancient ceramics.

China’s art masters and skilled craftsmen, with their exquisite grasp of traditional techniques and deep understanding of the spiritual connotation of ancient ceramic art, not only reproduce the classic shape of ancient royal designs, but also continuously expand and enrich craft methods and art forms to create new Chinese style Classical ceramic art work. These delightful and touching works tell the story of ancient ceramics in a way that transcends time and space, conveying their spirit and temperament, and recreating their historical aesthetic height.

Each of our pieces is handcrafted and a one-of-a-kind collectible.

If you wish to customise a work that is entirely your own, please contact us.

Ceramics in Song Dynasty

The Song Dynasty (960-1279) is considered the Renaissance period in China, when the craftsmanship and aesthetics of ceramics reached their historical peak. The economy and culture of the Song Dynasty were prosperous. The country implemented the national policy of “promoting literature and suppressing military affairs” and promoted Neo-Confucianism that integrated Confucianism, Buddhism, Taoism and Zen. A large number of Neo-Confucianists, famous poets and artists appeared, promoting the aesthetics of the entire society to be elegant, implicit, refined, simple, restraint, calm and natured. The last emperor of the Northern Song Dynasty, Song Huizong, was a highly accomplished artist. It is said that the indescribable blue color of the legendary Ru kiln comes from his poem when he woke up from a dream: the clouds dispersed after the rain, the sky becomes blue. Ceramics in the Song Dynasty was as green as jade, as bright as a mirror, and sounded like a chime, pursuing the color and texture of beautiful jade. Jun kiln, Ru kiln, Guan kiln, Ding kiln and Ge kiln are known as the five famous kilns in the Song Dynasty.

Japanese ceramicist and historian Mitsuo once said: “Song Dynasty ceramics are by far the best and most exquisite ceramics in the world.”

The ceramics of the Song Dynasty, with their elegance, subtlety, simplicity and natural beauty, conveyed an oriental aesthetic with philosophical speculation, which cannot be surpassed to this day.

Longquan Celadon

Celadon plays a particularly important role in the development history of Chinese ceramics. Longquan celadon is a shining pearl among many celadon.

 

Its production history lasts for more than 1,700 years, reaching its peak during the Southern Song Dynasty. It is the longest and most influential kiln system in the history of Chinese ceramics making.

In the long process of inheritance and development, Longquan celadon is intertwined with ancient Chinese philosophical thoughts, perfectly interpreting traditional Chinese national culture in the form of “materialization”.

Longquan celadon has a quiet, elegant and simple shape, and its glaze is translucent, like jade, and often described as having a ‘cracked ‘effect. Its is famous for its greenish color glaze–the color of nature, gives celadon eternal spirituality. The unique “Plum Green” and “Pink Green”, as well as the mysterious and changeable colors such as “Gray Green” and “Bean Green”, just like the sky, mountains and lakes in different seasons, present the eternal beauty of nature. China’s artistic aesthetic concepts of harmony between heaven and man are vividly expressed. The unique celadon glaze became a symbol of refinement and sophistication in Chinese ceramics.

The production process of Longquan celadon is difficult. It has a thin body and thick glaze, which requires multiple glazes, sprays and firings to complete. There is a very large shrinkage ratio during the firing process. The shrinkage ratio of the finished product to the original is between 15% and 20%, or even as high as 30%. Therefore, Longquan celadon is easily to deform during firing. In addition, when the thick glaze is fired, the glaze can flow off and stick to the inside of the sagger, resulting in a very low yield of good ceramics. Especially when firing large pieces of ceramics, getting a perfect piece can be a fortunate stroke of serendipity.

Longquan ceramics firing technique was included in the World Intangible Cultural Heritage of Humanity by UNESCO in 2009.

Longquan ceramics is known worldwide by its French name Celadon.

Celadon comes from the name of the shepherd in L’Astrée (1627), the most influential romantic drama in 17th-century French literature. Legend has it that in the late 16th century, an Arab businessman was invited to attend the wedding of the daughter of the mayor of Paris. He gave the bride a piece of Chinese ceramic as a gift. This piece of green jade-like ceramic amazed everyone present, but they couldn’t name it, when they saw the green and gorgeous clothes of the shepherd Celadon on the sage, they were inspired to get the name of Celadon.