Longquan Celadon

Longquan Celadon

Longquan Celadon is a geographical indication protected product.

Longquan Celadon is a geographical indication certification trademark.

　　Product Name: Longquan Celadon   Place of Origin: Lishui   Product Features: Elegant, Beautifully Shaped   Product Introduction: Longquan Celadon has long been renowned for its elegant glaze colors and beautifully shaped forms.   Product History: The Longquan Kiln has a long history, large production scale, and widespread kiln sites, making it a famous kiln both in China and abroad. According to cultural relics surveys and archaeological investigation data, there were over 350 ancient kiln sites in Longquan. Since the Song Dynasty, its products have been exported to Asia, Africa, Europe, and many other countries and regions, making significant contributions to world civilization and thus bringing fame to Longquan. Longquan Celadon is the crystallization of the wisdom and creativity of the ancient Chinese laboring people, marking a glorious chapter in the history of Chinese ceramics.   This ancient cultural heritage, a rare art flower among the treasures of the motherland, will shine once again, adding splendor to human civilization, social progress, and the improvement of people's lives.

　　Longquan is a historical and cultural city in Zhejiang Province, located in the southwest of Zhejiang, bordering Jiangxi and Fujian provinces, and is famous for producing celadon. Cultural relics surveys have found that there were more than 500 ancient kiln sites for firing celadon here, with over 360 within the territory of Longquan City alone. This vast porcelain kiln system is historically known as the Longquan Kiln.

　　The Longquan Kiln is the most famous celadon kiln in Chinese ceramic history, known for its longest firing period, widest distribution of kiln sites, highest product quality, largest production scale, and broadest export reach.

　　The Longquan Kiln originated in the Western Jin Dynasty, took initial shape during the Northern Song Dynasty, reached its peak in the mid-to-late Southern Song Dynasty, and achieved the pinnacle of porcelain-making craftsmanship. The meiziqing (plum green) and fenqing (powder green) glazes reached the highest realm of celadon glaze colors. The traditional gukou (elder brother) kiln of the Longquan Kiln, along with the official, ru, ding, and jun kilns, are collectively known as the Five Famous Kilns of the Song Dynasty. The celadon craftsmanship of the Longquan Kiln promoted the development of porcelain kilns across various regions. From the Southern Song Dynasty to the Ming Dynasty, porcelain kilns in coastal areas of Fujian and Guangdong, as well as in Jiangxi, successively produced similar Longquan-style celadon.

　　Longquan Kiln celadon also had a significant impact abroad. During the Song and Yuan Dynasties, it was exported in large quantities. Chen Qiaoyi wrote in the preface to the *Longquan County Place Names Gazetteer*: “From the ports along the southeastern coast of China, along maritime routes all the way to the Persian Gulf, Arabian Sea, Red Sea, and the eastern African coast along the Indian Ocean… there is no place without traces of Longquan celadon.” Longquan celadon reached its peak during the Song and Yuan Dynasties. While production scale in the Ming Dynasty remained substantial, quality declined, and by the Qing Dynasty, it gradually waned. Production almost ceased after the late Qing Dynasty, with only a few kilns engaging in antique-style production.

　　The historical development of Longquan celadon can be divided into three stages: the Five Dynasties to early Northern Song, late Northern Song to Southern Song, and Yuan-Ming periods.

　　1. Five Dynasties to Early Northern Song

　　During the Three Kingdoms and Jin Dynasties, local residents, leveraging the region’s superior natural conditions and drawing on the ceramic techniques and experience of the Yue and Ou Kilns, began producing celadon. The celadon products of this period were roughly made, and the scale of kiln production was not large. However, during the Five Dynasties and Northern Song, the rulers of the Wuyue Kingdom, in an effort to show allegiance, annually presented countless “secret color porcelains” to the central plains emperors as a gesture of peace. The enormous production volume exceeded the capacity of the Yuezhou kilns, creating an opportunity for the Longquan Kiln to take on this “peaceful” tribute mission and thereby secure its own development. At that time, the Longquan Kiln had begun to take shape, and the technology for firing celadon had reached a considerable level. With the introduction of the most advanced production techniques from the Yue Kiln, a group of outstanding porcelain artisans settled in Longquan, rapidly improving the quality of Longquan Kiln products.

　　The celadon wares of the Longquan Kiln from this period were all light blue-glazed, with bodies mostly gray-white, and some gray-black. The walls were thin yet hard, solid, and fine-grained. Most Longquan Kiln workshops were built on mountain slopes near rivers or streams. Artisans constructed dragon kilns on gentle hillsides, with small flat areas beside the kilns used for workshops and residences, ensuring a rational layout and convenient operation. The mountains provided timber, and nearby deposits of porcelain stone ensured easy access to raw materials and fuel. Local streams and rivers supplied industrial water for workshops and facilitated the transport of products to markets via boats and rafts. From the Five Dynasties to the mid-Northern Song Dynasty, Longquan leapt to become the foremost kiln in southern China. The much-praised “secret color porcelains” marked the beginning of the splendid legend of Longquan celadon.

　　2. Late Northern Song to Southern Song

　　The Southern Song Dynasty can be considered the golden age of the Longquan Kiln, when celadon took on a completely new look. After the fall of the Northern Song, a large number of northerners migrated south, shifting the political and economic center of the nation. Meanwhile, famous northern kilns such as the Ru and Ding Kilns were destroyed by war, and the Ou and Yue Kilns also declined. By the late Southern Song, with the introduction of northern porcelain techniques, the Longquan Kiln combined southern and northern skills to create the pinnacle of Chinese celadon history.

　　During this period, the Longquan Kiln produced a type of thick-glazed celadon resembling jade, categorized into black-bodied and white-bodied types. To address financial difficulties, the Southern Song rulers encouraged foreign trade, allowing Longquan celadon to thrive through maritime trade, exporting in large quantities by sea to countries around the world and becoming one of the main export commodities. Japanese ceramic scholar Koyama Fujio referred to this maritime porcelain transport route as the “Ceramic Road.” The high demand generated by foreign trade led to the emergence of numerous new porcelain workshops, continuously improving firing techniques and product quality.

　　In the late Southern Song Dynasty, the Longquan Kiln entered its heyday. The successful firing of fenqing (powder green) and meiziqing (plum green) glazes, with their exquisite craftsmanship, left a glorious mark in the history of Chinese porcelain. These glaze colors are recognized as the pinnacle of celadon, reflecting not only advancements in Longquan Kiln techniques but also embodying richer aesthetic meanings. Many new vessel shapes from the Southern Song Longquan Kiln were derived from ancient bronze ware, such as zun-shaped bottles and ding-style incense burners. Observing these exquisitely delicate Southern Song Longquan celadons, one cannot help but marvel at their resemblance to official kiln pieces. As official kiln wares were monopolized and strictly prohibited from being replicated by civilians, the similarity between Longquan celadon and official kiln pieces indicates the influence of the latter. Although no definitive records confirm the establishment of an official kiln in Longquan during the Southern Song, various signs suggest that the imperial court likely dispatched technicians and officials to oversee the production of “tribute wares” in Longquan and other places.

　　By the Southern Song Dynasty, the production of Longquan celadon had reached its zenith, with glazes pursuing a bluish-jade-like tone and effect. This celadon later influenced Korean Goryeo celadon when it was introduced there. The Japanese called it “Tsubo celadon” and produced many imitations. In Europe, Longquan celadon was referred to as “Seladon.” This name stems from a romantic legend. In the early 17th century, French writer Honoré d’Urfé wrote a famous novel that was one of the most popular reads in France at the time. Later adapted into a play, it became a sensation on stage. In the performance, the shepherd boy Seladon wore a beautiful azure garment, as green as seawater and as lovely as the blue sky. At the same time, mysterious Chinese Longquan celadon from the distant East was also a sensational art piece, beloved to the point of obsession by many nobles. People sought a name that could best express their fervent admiration for it. Coincidentally, the color of Longquan celadon resembled the shepherd’s garment, so they bestowed the name “Seladon” upon it. To this day, Europeans still refer to Longquan celadon as “Seladon.”

　　3. Yuan-Ming Periods

　　Perhaps the Yuan rulers did not appreciate such refined and delicate artistry, but porcelain remained an indispensable embellishment to aristocratic life. The Yuan Dynasty Longquan Kiln continued to produce porcelain for the court and nobility, as evidenced by the presence of Phagspa script on some pieces. The style of Yuan Longquan celadon also underwent a refreshing transformation. In truth, the Mongol rulers of the Yuan Dynasty were not unilaterally assimilated by Han culture; the Mongol cavalry brought with them the grandeur and ruggedness of the steppes as they conquered dynasties. Coupled with the Yuan rulers’ continued implementation of foreign trade policies, the production scale of Longquan celadon continued to expand during the Yuan Dynasty, with unprecedented numbers of kiln sites and products, increased variety, and expanded exports.

　　Between 1975 and 1977, a Yuan Dynasty shipwreck was discovered on the seabed off the southwestern coast of South Korea in Sinan, yielding over 10,000 porcelain pieces, more than 9,000 of which were Longquan celadon—highlighting its crucial role in Yuan Dynasty foreign trade.

　　In the late Yuan Dynasty, intensifying class conflicts and unrest severely impacted celadon production. The bodies of celadon wares gradually thickened and became coarser, with many kilns failing to properly refine the bodies after shaping. Glaze layers thinned, resulting in yellowish tones, and vessel shapes were less elegant than before. Ming Dynasty Longquan celadon developed on the foundation of the Yuan Dynasty. Fragments still reveal traces of Yuan-era designs.

　　By the years 1403–1435 (Ming Yongle to Xuande reigns), Zheng He’s voyages to the Western Seas promoted overseas trade and celadon production. Thereafter, the rise of blue-and-white porcelain, coupled with the decline of China’s maritime endeavors, turned sea routes into avenues for Western colonial aggression. The Ming Dynasty implemented a maritime ban, drastically reducing celadon exports. Many Longquan kilns closed down, switching to producing common civilian celadon with less refined shapes and firing techniques. However, it is undeniable that fine pieces still emerged from the Ming Longquan Kiln. Comparisons with contemporary Jingdezhen official kiln pieces reveal striking similarities in shape and decoration, underscoring the orthodox lineage of these Longquan celadon wares.

　　By the years 1636–1911 (Qing Dynasty), very few Longquan kilns remained, with coarse clay bodies and yellowish glaze tones. The glorious era of Longquan celadon had come to an end. Yet, the once-forgotten and buried miracle of the Daming Chuzhou Longquan official kiln was eventually unearthed, rediscovered through a series of serendipitous events.

　　Perhaps the Yuan Dynasty rulers couldn't appreciate that delicate and exquisite art, but porcelain remained an indispensable embellishment in aristocratic life. The Longquan Kiln in the Yuan Dynasty continued to produce porcelain for the imperial court and nobility, and the appearance of Phags-pa script on Longquan ceramics is a testament to this. The style of Longquan porcelain in the Yuan Dynasty took on a completely new look. In fact, the Mongol rulers of the Yuan Dynasty were not unilaterally assimilated by Han culture; the Mongol cavalry, while conquering a dynasty, also brought the grandeur and ruggedness of the grasslands. Coupled with the Yuan rulers' continued implementation of foreign trade policies, the production scale of Longquan celadon continued to expand during the Yuan Dynasty, with the number of kilns and products reaching unprecedented levels, varieties increased, and exports reached abroad.

　　In 1975-1977, a Yuan Dynasty shipwreck was discovered on the seabed off the southwestern coast of Korea in Sinan, where over 10,000 pieces of porcelain were salvaged, more than 9,000 of which were Longquan celadon, demonstrating the significant role of Longquan celadon in Yuan Dynasty foreign trade.

　　In the later period of the Yuan Dynasty, as class conflicts and turmoil intensified, they severely impacted the production of celadon. During this time, the body of celadon ware gradually became thicker and coarser, with most kilns failing to properly finish the shaped blanks. The glaze layer became thinner, and the color of the vessels shifted to a yellowish-green, with shapes less elegant than before. Ming Dynasty Longquan kiln celadon developed on the foundation of the Yuan Dynasty, and even in the fragments, traces of Yuan Dynasty pieces can still be seen.

　　By 1403-1435 (the Yongle to Xuande years of the Ming Dynasty), Zheng He’s voyages to the Western Seas promoted overseas trade and boosted celadon production. Later, with the rise of blue-and-white porcelain, coupled with the decline of China's maritime endeavors and the transformation of sea routes into avenues for Western colonial aggression, the Ming Dynasty implemented a maritime ban, leading to a sharp decline in celadon exports. Longquan kilns closed one after another, switching to producing common-use celadon for the public, with both shapes and firing techniques less refined than before. However, it is undeniable that there were still masterpieces among Ming Dynasty Longquan kiln products. A comparison with contemporary Jingdezhen official kiln wares reveals their alignment in form and decoration, clearly indicating the orthodox status of such Longquan celadon pieces.

　　By 1636-1911 (the Qing Dynasty), few Longquan kilns remained, with coarse clay bodies and yellowish-green glazes. The splendid era of Longquan celadon had come to an end. However, the long-forgotten and buried miracle of the Daming Chuzhou Longquan Official Kiln was eventually unearthed through a series of serendipitous events, emerging from the dust.