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examples from a number of kilns are included in the sale. All specialised in ceramic figurines, small boxes for cosmetics
across northern China potters made black-glazed wares, for and sealpaste, delicate cups, bowls and dishes, vases, and a
they provided easily-produced and durable household utensils. range of wine ewers. Because alcohol was typically consumed
In spite of their often humble destinations, they bore attractive warmed to blood-heat during the Song period, deep bowls
and striking glazes giving oil-spot, streaks and speckled were produced to stand the ewers in hot water. Many
effects, or had contrasting white rims, while grander pieces paintings and murals of the time show congenial drinking
even had cut-gold decoration. These northern blackwares parties supplied with ewers-in-basins, and elegant wine
were closely allied with Cizhou ceramics, also made at a huge cups and bowls. Often Hutian wares were humorous in their
number of northern kilns. Cizhou took decoration one step depiction of people and beasts, emphasising the clear blue-
further, cutting through the glaze to create dramatic patterns, white glaze with iron brown details.
or painting bold designs.
The Mongol Yuan dynasty was a period of experimentation in
In the southern province of Fujian, prodigious numbers of ceramics, brought about by the disruption to traditional internal
black teawares were turned out in a single firing, in climbing markets and an expanding export trade. Both destinations
“dragon kilns” that were over 100 metres long. Jian wares were served by the huge kiln complexes at Longquan in
have a thick, dark body suitable for keeping tea warm, and southern Zhejiang province, that had begun operations during
attractive glazes embellished with markings such as silvery the Song dynasty, but expanded hugely during the Yuan.
“hare’s fur”. The best Jian wares were sent to court, and Large Longquan vessels suited to Middle Eastern dining
they also enjoyed a local market, where people admired the requirements are found across the region, the most famous
effect of drinking local green teas in very dark bowls. Because conglomeration being that assembled in the kitchens of the
Fujian province is on the southeast coast it had close links Topkapi Seray in Istanbul.9 Smaller Longquan vessels were
with Japan, and many Japanese Buddhist monks travelled to traded throughout East and Southeast Asia, while the most
monasteries in the scenic Tianmu mountains. They took home refined wares were kept for the home market.
with them black Jian teabowls, called “temmoku” in Japan.7
Thus it can be seen that Chinese ceramics played an
The collection contains an extraordinary array of two “popular” important economic and social role in China, a role that
wares from Jiangxi province, Jizhou and Qingbai. Jizhouhas is exemplified by the types and range of ceramics in this
long been the “Cinderella sister” of ceramic studies, for collection.
since the Benjiesi kiln was excavated in 1980 archaeological
work has been less well resourced than that carried out at 1 Rose Kerr (ed) and Nigel Wood, Ceramic Technology. Science and Civilisation
better-known kilns in other regions. A new programme of in China, volume V, part 12 (Cambridge University Press, 2004), pp.348-349.
archaeology is underway, so we may hope to gain further 2 Nigel Wood, Chinese Glazes. Their Origins, Chemistry and Recreation (A&C
understanding in coming years. We do know that the kiln Black, 1999), pp.160-162.
employed a wide array of designs, including green and yellow 3 Yutaka Mino and Katherine R. Tsiang, Ice and Green Clouds. Traditions of
lead glazes, black and white slip trailed and splashed to make Chinese Celadon (Indianapolis University Press, 1986), pp.108-111.
bold abstract designs and painted to simulate guri lacquer, 4 Jessica Rawson, “Chinese Silver and Its Influence On Porcelain Development”
and used to encloseresist decorations. A highlight of this resist in Patrick E. McGovern, Michael D. Notis& W. David Kingery (eds.),Cross-
technique involved the use of papercuts, and leaves that burnt craft and Cross-cultural Interactions in Ceramics: Ceramics and Civilization,
off leaving even the most delicate veins to be seen.8 Vol. IV(The American Ceramic Society, 1989), pp. 275-299.
5 Rose Kerr, Song Through 21st Century Eyes. Yaozhou and Qingbai Ceramics
Qingbai porcelain from Jingdezhen is much better known, 今之視昔宋代耀洲窯及清白瓷 (Meijering Art Books, 2009), pp.16-23.
for it was manufactured in vast quantities, and a good deal 6 For detailed references see Kerr and Wood,op.cit., p. 530.
of excavation has been carried out. One major kilnarea was 7 Rose Kerr, Song Dynasty Ceramics (V&A Publications, 2004), pp.112-117.
Hutian, a short distance south of the city. There potters 8 Ibid.,pp.106-112.
9 John Ayers (ed.) and Regina Krahl, Chinese Ceramics in the TopkapiSaray
Museum Istanbul. A Complete Catalogue, volume 1 ( Philip Wilson, 1986)
THE FENG WEN TANG COLLECTION OF EARLY CHINESE CERAMICS | 9