The Song Dynasty stands out in Chinese history as a period of unparalleled economic and cultural prosperity. With the assurance of a stable life, the people of the Song Dynasty delved into spiritual pursuits, leading to a flourishing development in humanities and the arts. The renowned Emperor Huizong of the Song Dynasty, known for both his high artistic accomplishments and political acumen, played a significant role in this era.
Against the backdrop of the rise of Neo-Confucianism, a philosophical movement combining Confucianism, Buddhism, and Taoism, the aesthetic perspectives of the Song people underwent corresponding changes. In clothing, they advocated simplicity over excessive luxury, emphasizing a conservative and restrained style with minimal variations. The color palette focused on simplicity, cleanliness, and natural tones. The concept of revering nature was prominently reflected in decorative motifs, where elements such as flowers, plants, birds, animals, and insects were common in both utensils and attire. Porcelain reached its pinnacle during the Song Dynasty, characterized by elegant shapes, subtle patterns, and pure tones. The enduring beauty of the subdued and unadorned aesthetics is still admired by people today.
In the refined culture of the Song Dynasty, individuals sought to adorn themselves with flowers and grass to harmonize with the changing seasons. As a result, exquisitely crafted glass flower vase pins were created, allowing individuals to display seasonal flowers in their hair. In the Song Dynasty, the practice of adorning with flowers was not limited to women; it was also popular among male literati. Even within the imperial court, flowers were a must for various occasions such as festivals, ceremonies, and banquets. Different flowers were bestowed by the court based on the occasion and the official's status, as mentioned in the "History of the Song Dynasty."
This glass flower vase pin can hold water, allowing fresh flowers to be inserted, worn as a hairpin.
Source: Rongbaozhai
Source: weibo Dongmaiying 動脈影 (Museum Photographer)
Crackles and Ice-Cracks
During the Song Dynasty, porcelain was produced using traditional methods, involving firing using porcelain clay, which was more challenging than the methods employed in the subsequent Yuan, Ming, and Qing Dynasties. Notable kilns of the Song Dynasty included the Cai, Ru, Guan, Ge, and Ding kilns, with the Jun kiln being highly esteemed as well.
Just like all art in the world, the crack characteristic is a beautiful mistake. Crackles refer to the fissures that appear only in the glaze layer due to the thermal expansion and contraction of the glaze during firing. The firing process involves melting the glaze into a glass-like protective layer on the ceramic surface. As the ceramic cools naturally after firing, differences in the shrinkage rates of the body and glaze lead to the development of cracks in the relatively rigid and less elastic glaze layer. If cracks appear in the ceramic body, it signifies a defect.
Crackles that layer upon each other are known as "ice-crack patterns." In the course of the porcelain's circulation, temperature fluctuations can cause these cracks to continue forming. Initially considered a flaw, these naturally occurring and interesting patterns have become sought after by collectors, making each piece of porcelain unique.
Close-up on the crackles, photo taken my me
Rare Treasure: The Ru Kiln Unpatterned Basin
As Jay Chou's song “Blue and White Porcelain," mention "Azure sky waiting for rain, while I wait for you." The Ru kiln glaze, primarily in a faint azure color known as "duck eggshell blue," is thin, and with changes in the shape, it exhibits variations in shades from light to deep.
Legend has it that Emperor Huizong dreamt of this color, inspiring the creation of Ru kiln ceramics. The Ru kiln, responsible for producing ceramics for the imperial court, operated for a remarkably short period in the late Northern Song Dynasty, estimated at around 20 to 30 years. Due to this short production span, Ru kiln porcelains are exceptionally rare, with fewer than a hundred extant pieces today.
According to the Ming Dynasty connoisseur Cao Zhao, "true Ru kiln ceramics have crab-claw patterns, but those without patterns are even better." Successfully firing Ru kiln ceramics without crackles, ensuring a smooth and unpatterned surface with uniform glaze color, was considered a "perfect" achievement, deemed nearly impossible with the technological constraints of that time. The water basin for narcissus flowers presented here is the only extant Ru kiln piece without ice-crack patterns. Emperor Qianlong of the Qing Dynasty was so enamored with it that he ordered the crafting of imperial poems and a redesign of the display stand.
Source: National Palace Museum (Taipei)
Despite its seemingly plain appearance, this water basin displays a nuanced glaze with shades of blue, green, and hints of pink. Although lacking intricate patterns, its enduring beauty and graceful form withstand the test of time, making it a classic.
According to the imperial poem engraved on the basin, during earlier dynasties (Tang and Song), this vessel served as a food bowl for pet dogs or cats. This revelation adds an intriguing layer to the history of this precious water basin.
Source: National Palace Museum (Taipei)
Later Developments
With the discovery of kaolin clay in the Yuan Dynasty, a two-element formula—combining porcelain clay with kaolin—strengthened the hardness of the porcelain body. This innovation brought about significant changes to Chinese ceramic craftsmanship:
- Ability to fire larger pieces.
- Reduction of deformation during firing.
- Increased firing temperatures, leading to the development of high-temperature colored glazes in subsequent eras.
Following this advancement, Chinese porcelain reached new heights, and in English, the term "china" even became synonymous with Chinese porcelain.
Inspired by the customs of Song Dynasty porcelain and flower hairpins, I've created a series of flower vase pins. They are available online. Some of these floral combinations carry special meanings. In the future, I will write another piece about common flowers and plants in Chinese culture, exploring their cultural symbols and origins.
