The historical development of blue and white porcelain

Tang Dynasty

• Origin: Blue and white porcelain originated in the Gongxian Kiln of the 9th century Tang Dynasty, marking the initial stage of blue and white porcelain. At that time, the mainstream aesthetic in society pursued the translucent and lustrous quality of "jade", and white porcelain with blue patterns was not widely accepted by the public.
• Characteristics: The blue-painted porcelain shards unearthed from the Tang Dynasty strata in Yangzhou in 1975 and the white-glazed blue-painted wares from the Henan Gongxian Kiln recovered from the Belitung shipwreck are the earliest traceable blue and white porcelain wares. They were painted with cobalt blue pigments imported from Persia, and their decorative patterns had an exotic flavor similar to Persian Islamic patterns such as diamond-shaped patterns.

Song Dynasty

• Development: Blue and white porcelain was first fired in southern kilns during the Song Dynasty, but it had no direct inheritance relationship with the northern blue and white porcelain of the Tang Dynasty.
• Characteristics: In terms of clay, firing temperature, etc., the blue and white porcelain of the Song Dynasty was rougher than the mature Yuan Dynasty blue and white porcelain. It used domestic cobalt materials with high manganese and low iron content, resulting in a gray-blue or gray-black color. The glaze was either eggshell blue glaze or bluish-white glaze, and it was only used for the commercial production of individual utensils, such as porcelain figurine decorations and civilian coarse bowls.

Yuan Dynasty

• Maturity: The Yuan Dynasty was an important turning point in the development history of blue and white porcelain, during which blue and white porcelain reached maturity and developed rapidly. During this period, the transportation between the Central Plains and the Western Regions, and even Western Asia, was reopened, enabling in-depth exchanges between blue and white porcelain and Persian culture and Islamic civilization.
• Characteristics: Yuan blue and white porcelain used the "Sumaliqing" pigment imported from the Western Regions. Its high iron content and low manganese content caused rust-like patches to form in areas where the cobalt pigment was concentrated. It had a diverse range of shapes, including plum vases, yuhuachun vases, large jars, etc.; and its decorative themes were rich, covering dragons and phoenixes, figures, birds and beasts, flowers, geometric patterns, etc. It not only inherited Chinese traditions but also had innovative works deeply influenced by Islamic culture. Yuan blue and white porcelain had a deep and vivid color, with complex decorative patterns, and its composition was full, with multiple layers that were orderly, reflecting the characteristics of the Yuan Dynasty porcelain's solemnity, massiveness, and grandeur.

Ming Dynasty

• Transition and Transformation: In the second year of the Hongwu period of the early Ming Dynasty, the imperial court officially established the "Pottery Factory" in Jingdezhen, which was later renamed the "Imperial Porcelain Factory", laying the foundation for Chinese ceramic art in the Ming Dynasty and even the Qing Dynasty. The blue and white porcelain of the Hongwu period showed the characteristics of transitioning from Yuan Dynasty blue and white porcelain to typical Ming Dynasty blue and white porcelain. The cobalt pigments used were mainly imported, but due to limitations in firing technology, the color was mostly dull.
• The Peak in the Yongle and Xuande Periods: The blue and white porcelain of the Yongle and Xuande periods completely broke away from the styles of the Yuan Dynasty and the Hongwu period, opening a new chapter in the development of blue and white porcelain in the Ming and Qing Dynasties. The blue and white wares of this period had both traditional Chinese shapes and shapes originating from or imitating utensils made of pottery, copper, gold, silver, glass, etc. in Western Asia and North Africa. Due to the use of the "Sumaliqing" pigment, the color was vivid, and there were often iron-brown crystalline spots in areas where the pigment accumulated.
• The Aesthetic Peak in the Chenghua Period: Emperor Chenghua had a high artistic accomplishment. The technology level and management system of the imperial kiln factory were mature and complete, and the selection system for imperial tributes was strict. In the early Chenghua period, imported cobalt pigments were used, resulting in a deep and thick color. In the middle and late Chenghua period, the high-quality domestic "Pingdengqing" pigment from Baitang, Leping, Jiangxi was chosen, and the decorative patterns were elegant and serene, with a sparse and orderly layout, which was another aesthetic peak of Ming Dynasty blue and white porcelain.
• Changes in the Hongzhi and Zhengde Periods: The blue and white porcelain of the Hongzhi period used the "Pingdengqing" pigment, with a light color and delicate decorative patterns. Emperor Zhengde admired Islamic culture and believed in Buddhism and Taoism. The official kiln porcelain liked to use Arabic characters and Taoist auspicious patterns for decoration. Besides using the "Pingdengqing" pigment, extremely expensive imported "Huiqing" pigments were also used in the middle and late Zhengde period.

Qing Dynasty

• Prosperity and Diversification: The Qing Dynasty was a prosperous period for blue and white porcelain. The production technology of the Kangxi, Yongzheng, and Qianlong periods was more mature, the color was more stable, and the patterns were more detailed. The blue and white porcelain of the Kangxi period had diverse shapes and rich decorative patterns. Using the "Zhumingqing" pigment from Yunnan, through the dotting and dyeing technique, it could present an effect similar to the rust spots of the "Sumaliqing" pigment.
• The Elegant Style in the Yongzheng Period: The blue and white porcelain of the Yong 雍正 period was noted for its elegant and fresh style. The body and glaze were fine, the patterns were painted delicately, and the color combinations were harmonious, possessing high artistic value.
• The Gorgeous Decoration in the Qianlong Period: The blue and white porcelain of the Qianlong period placed more emphasis on gorgeous decoration. The shapes and decorative patterns of the blue and white porcelain were more complex and diverse, often using techniques such as multi-layer decoration and openwork, demonstrating the luxury and grandeur of the court.