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In Search of the Ancients

People of the Sung dynasty valued proper and authentic rituals, searching for evidence of them from ancient times. In the early Sung, the "San-li t'u (Illustrated Three Rites)" was designated as the authoritative manual for implements used in rituals and ceremonies. Northern Sung scholars also appreciated and collected ancient ritual objects, and they did critical readings of inscriptions in order to rectify errors with regard to the current forms of vessels.

Illustrated manuals recording these objects were composed and printed, including "K'ao-ku t'u(Illustrated Antiquities)" and "Hsuan-ho po-ku t'u-lu" (Illustrated Catalogue of Hsuan-ho Antiquities). Not only did these become models for the instruments and wares subsequently produced for halls and temples, their elegant classicism came to characterize Sung period aesthetics.

Tsun vessel with light bluish- green glaze Porcelain, Kuan ware Southern Sung dynasty, ca. 12th century Ting vessel with inscription of Cheng-ho period Bronze Northern Sung dynasty, dated 1116

The Beauty of Nature

People in the Sung dynasty were keenly observant of all things around them, and even utilitarian, everyday objects were inspired by nature. Forms of objects were given descriptive titles like "hibiscus bowl" or "lotus-leaf cup", and the terms "hare's fur" and "partridge spots" were poetically applied in praise of glaze colors. Artisans were adept at rendering ripe melons and fruit, supple flower petals, ducks, geese, fish darting through water, and rabbits and deer in a forest. Regardless of form or pattern, such decorative motifs impart to vessels an air of graceful elegance that surpasses their utilitarian function.

Hibiscus-shaped bowl with light bluish-green glaze Porcelain, Kuan ware Southern Sung dynasty, 1127-1279	Dish with carved lotus petals and incised decor in white glaze Porcelain, Ting ware Northern Sung dynasty, 960-1126

Interaction with Foreign Cultures

From the 10^th to 14^th centuries, East Asia not only witnessed the rise of the Chinese Sung dynasty, but other states also emerged alongside it, including the Liao (916-1123), Western Hsia (1032-1227), Ta-li (752-1251), and Goryeo (Korea). Later appeared the Chin dynasty (1125-1234) and finally the Mongol Yuan (1271-1368). Objects were often exchanged as tribute, given as rewards for service, and served as media for trade, with craftsmanship, design, and overall style becoming reciprocal sources of inspiration among these peoples.

Carving in the shape of Chinese trumpet creepers Jade Yüan dynasty, 1279-1368

Crackled celadon stem bowl Porcelain, Ko ware Yüan dynasty, ca. 14th century

The Refinement and Popularization of Porcelains

The ceramics industry of the Sung dynasty (960-1279) pursued advances in kiln technology. Craftsmen searched far and wide for fine, new clays and exotic glaze colors, always looking for innovative ways of creating their wares. The kiln facilities, molding techniques, and spectrum of glaze colors grew increasingly versatile. The fiery spirit and determination exhibited by potters back then even rival the thirst for experimentation found among modern-day artists.

The government in the Sung as well as Yuan dynasty (1271-1368) earnestly sponsored the production of porcelains. Besides providing for objects of daily life, the imperial court also specified forms, production techniques, and raw materials for its ceramics, resulting in the rapid spread of kilns throughout the land that produced advanced porcelains. The famous kilns generated pieces that were fine in biscuit body, controlled in glaze consistency, and beautiful in decorative motifs. The production style of such renowned kilns became the frequent target of imitation by other nearby kilns, creating for an extensive network of kilns.

Sung porcelain reigned in its minimalist aesthetic, esteeming clean lines and sparse decoration. They are divided into the four general chromatic categories of glaze: celadon, white, black, and polychrome. Celadons consist of sky-blue Ju ware from Honan, light bluish-green Kuan ware from Chekiang, plum green Lung-chuan ware, and olive green Yao-chou ware from Shensi.

White-glazed pieces were mainly from northern and southern centers of production, represented by Ting ware from Hopeh and Ching-te-chen from Kiangsi, respectively. The Northern wares are distinguished by their ivory white color and flowing glaze-like teardrops. Southern wares have bluish white glaze, the places where it congealed being lake-blue in color. Both of these areas specialized in fluid engravings or regular stamped impressions for decoration on the biscuit.

Chien ware from Fukien represents the epitome of black ware, the crystallization of the glaze being like the fur of a black hare. Multi-colored wares are exemplified by Chun ware from Honan, in which the turbid sky-blue glaze often reveals reddish purple coloring.

The myriad forms and renderings of Sung and Yuan ceramics disclose details about the eating, adornment, and worship customs of the time. These wares have also been praised both domestically and internationally, and have been appreciated by and exalted among many in later generations.

Narcissus basin with light greenish blue glaze Porcelain, Ju ware Northern Sung dynasty, early 12 th century

Tsun vessel with linear decor in light bluish-green glaze Porcelain, Kuan ware Southern Sung dynasty, 1127-1279

Celadon vase with phoenix- shaped handles Porcelain, Lung-ch'üan ware Southern Sung dynasty, 1127-1279

Planter with blue and violet glaze Porcelain, Chün ware Yüan dynasty, ca. 14 th centuries	Square ewer with applique mask and dragon-shaped handles in white glaze Porcelain, Ting ware Northern Sung dynasty, 960-1126

Elegant Living

Sung scholars were serious connoisseurs of the implements of the studio – brush, paper, ink, and inkstone – treasuring those of exquisite quality. Commoners in the cities took pleasure in such aspects of daily life as making offerings of incense, testing tea, arranging flowers, and viewing plantings. In an effort ti satisfy popular demand, craftsman took care to their creations a meaningful and lasting appeal. Enhanced by their imagination, mirrors, pillows, flower vases, incense burners tea wares, wine vessels, and other objects of daily life were all of an exquisite and elegant nature.

Pillow in the shape of a recumbent child with white glaze Porcelain, Ting ware Northern Sung dynasty, ca. 11th-12th centuries

│1││2│ Inkstone with landscape of the "Orchid Pavilion" T'ao River stone Sung to early Ming dynasty, ca. 10 th -14 th centuries