Yaotou Black Porcelain

Yaotou Black Porcelain

Yaotou Black Porcelain is a protected geographical indication product.

　　The Chengcheng Yaotou Kiln has a long history and widespread fame, and can be regarded as a gem of China’s ceramic art. Alongside the renowned ancient imperial kiln of Jingdezhen, it was included in the first batch of National Intangible Cultural Heritage listings in 2006. The kiln site was once vast in scale, shrouded in legendary tales and filled with fascinating stories; its pottery wares, with their classic, rustic charm and endearing simplicity, are wonderfully unique and of considerable value. Through the ages, people from all walks of life have used, displayed, and collected products from the Chengcheng Yaotou Kiln. Their worth far exceeds mere aesthetic appreciation — the reputation is truly well-deserved.

　　According to relevant materials and archaeological inferences from the Yangshao Culture, the Yaotou Kiln dates back to the Han Dynasty (206 BC – 8 AD). Additionally, the Ming Dynasty’s Chronicles of Chengcheng County mentions “Chengcheng ceramic sand,” which began in the Tang Dynasty (618 AD). The Tongzhou Prefecture Chronicles, engraved in the fifth year of the Tianqi era of the Ming Dynasty, also records that “the Yaotou (Yaotou) kiln in Chengcheng produces ceramic ware.” Thus, it is evident that the Chengcheng Yaotou Kiln has had an unbroken history of ceramic production for at least a thousand years, making it one of the famous folk kilns in China’s northern Yellow River basin.

　　Throughout the ages, most of the porcelain produced by the Chengcheng Yaotou Kiln has been everyday items for local people, with a wide variety including jars, basins, bowls, stoves, pots, bottles, teapots, cups, saucers, lamps, pillows, pen holders, toys, and more. These were formed by hand using either pulling or slab techniques, glazed, and fired in downdraft mantou (steamed bun) style kilns. Utilizing the abundant local kaolin and white alkali clay, the wares were mainly produced with black glaze, along with celadon and polychrome glazes. Decorative techniques included carved patterns, blue-and-white designs, iron rust patterns, as well as yellow, brown, blue, soy sauce, and kiln-transmutation glazes — the themes were extremely diverse. Common motifs included the elegant and graceful intertwining peony patterns, the pomegranate symbolizing fertility, the lotus representing abundance year after year, patterns symbolizing longevity, the eight trigrams of the Five Elements, as well as vivid depictions of birds and beasts, flowers, fish, insects, historical stories, folklore, and auspicious patterns. Whether painted or carved, the images were lively and bold, with simple yet unrestrained brushwork, rigorous and balanced composition, and dignified, elegant shapes — all contributing to the unique artistic style of the Chengcheng Yaotou Kiln. Particularly noteworthy are the small lidded jars from Yaotou, which are truly exceptional, representing various forms that symbolize the unity of heaven and earth. Some lids feature a lifelike mouse crouching on top, symbolizing the joy of a bountiful harvest in the coming year with its round belly. The mouse represents fertility and reproduction, the arched lid signifies the distant sky, the flat base of the jar the earth, and the jar itself the cosmic womb of the universe where heaven is round and the earth is square. Some jar lids are adorned with sculpted handles in the shapes of lions, bears, monkeys, and other lively figures. When arranged in a row, they resemble a performing troupe of animals, full of playful charm. The Yaotou Kiln also produced the “Lazy Wife” figure — yet another marvel, possibly a great invention and one of the earliest tools for managing children, perhaps echoing the legacy of the Yangshao Culture. These ceramic pieces from Yaotou not only bear witness to history but seem to tell their own stories to the world.

　　The value of the Chengcheng Yaotou Kiln also lies in its responsiveness to the needs of ordinary people — whatever was required by the public was produced, and whatever was passed down from ancestors continued to be made, unaffected by the will of any officials or nobles. As a result, its products are diverse in type, varying greatly in size and shape, richly colorful, and truly one of a kind. With its elegant simplicity and vigorous, robust style, it reflects the true essence of history and the spirit of the times, winning widespread affection. Thus, its ceramic firing techniques have been passed down over the long term and continue to thrive, making it one of the rare representatives of folk ceramics in the history of Chinese and even global ceramics. A large number of Chengcheng Yaotou Kiln utensils and tools remain in the northwestern part of the Yellow River basin, particularly in the eastern region, having been preserved and passed down through generations.

　　Some say that the place called Chengcheng is simply too mysterious, with the Yaotou Kiln — a hub of ceramic production — being just a microcosm. When will its mysterious veil be lifted? The Yaotou Kiln is located at the junction of Chengcheng, Baishui, and Pucheng counties, bordering the Luo River system to the west. Several tributaries within the county converge at Yaotou before flowing into the Luo River, ensuring abundant water supply. In the past, this area was picturesque with verdant mountains, clear waters, dense forests, and intact vegetation, home to a wealth of paleontological and animal fossils. It was one of the earliest places inhabited and thrived by the ancestors of Chengcheng. The region is rich in mineral resources, including coal, limestone, kaolin (china clay), pyrite, bauxite, and iron ore. The high-quality water sources, abundant kaolin (china clay), and coal resources provided the essential raw material guarantees for ceramic production throughout the ages. Ceramics were made using locally sourced materials, with convenient access to clay, water, and coal. The local artisans were all highly skilled and multi-talented. Their ceramic artistry was largely learned from their ancestors, with skills passed down from son to father, and father to grandfather — though no one can clearly say how many generations or individuals have been involved. According to the Li family genealogy, their ancestral craft has been passed down continuously for over 500 years.

　　The Chengcheng Yaotou Kiln is a topic of history, a topic of science, and an endless topic. Scholars in the field of archaeology believe that the numerous ancient ceramic shards and folk legends from the Yaotou Kiln site are sufficient to illustrate this point. In many parts of northern China, a significant number of black-glazed ceramics have been unearthed, but for years their origins remained unknown. After seeing the Yaotou Kiln site and its collections, many experts remarked with emotion that they had finally found the “root” — the archaeological value is evident. In the eyes of fine arts and calligraphy experts, the carved patterns and iron rust designs of the Yaotou Kiln are truly exceptional. Artisans applied glaze to the shaped blanks, then used knives as brushes to skillfully and casually etch a few lines, bringing to life patterns rich in profound meaning. The iron rust patterns and blue-and-white designs offer strong color contrasts, crisp and bright, simple yet elegant, with smooth and exquisite brushwork, earning their creators the title of the “Picasso of the East.” A single-stroke “Fu” (fortune) character, bold and free-flowing like a dancing dragon or soaring phoenix, exudes vitality and a sense of beauty, making one feel that fortune is ever-present and a wonderful life is just within reach. Folklore experts note that many ancient legends and folk songs from the Chengcheng Yaotou area are related to ceramics. The widely circulated folk song in the Weibei region — “Whether there’s an autumn harvest or not, wait until May 26th; if it rains even a little on that day, hurry to Yaotou to buy big bowls, buy the big bowls to eat rice” — reflects the anticipation of a bountiful harvest in the old days, and also confirms that Yaotou ceramics were indispensable daily necessities. From the “Lazy Wife” figures that Chengcheng children sat on, to burial practices after death, all are intricately connected to the pottery of the Yaotou Kiln. To ensure the deceased could have light in the afterlife, black-glazed ceramic bowls were lit as “eternal lamps” in front of coffins. Black-glazed ceramic jars containing fermented dough, food, pomegranates, and other items were placed in tombs, symbolizing that the dead would not go hungry and that future generations would prosper and carry on the lineage.

　　In recent years, with the increasing attention of the Party and government to intangible cultural heritage, the ceramic firing techniques of the Chengcheng Yaotou Kiln have been included in the national protection scope. The county party committee and county government have paid close attention to the excavation, protection, and inheritance of the Yaotou Kiln, establishing organizations, allocating special funds, and striving to ensure that ancient kiln sites and traditional houses are no longer destroyed; encouraging veteran artisans to resume production; collecting scattered ceramic masterpieces among the public; preparing for the establishment of the Chengcheng Yaotou Kiln Ceramic Museum; and setting up bases for ceramic production, tourism, and internships. Individual ceramic kilns in Chengcheng have gradually resumed operations, showing strong vitality.

　　We firmly believe that the fire of the Chengcheng Yaotou Kiln will burn brighter and brighter, producing more and more fine works, with a promising future ahead.

　　 The current administrative region of Yaotou Village, Yaotou Town, Shaanxi Province

　　 Letter from the People’s Government of Chengcheng County Regarding the Application to Define the Protected Production Area of Yaotou Black Porcelain Geographical Indication Product, Chengzheng Han [2013] No. 121

　　 Local Standard of Chengcheng County: DB610525/T01-2014 Yaotou Black Porcelain Production Process Technical Specifications