The Sung dynasty (960-1279) was an age of cultural expansion. An aesthetic marked by simplicity prevailed and permeated all levels of society. The imperial court valued the classical rites of high antiquity, and scholar-officials acquired a sensibility firmly grounded in the values of antiquity and archaism from their scholarly and collecting activities. Artisans also infused forms and decorative motifs with elements from Nature, as works of art reveal a dedication to and celebration of life among the people of the Sung dynasty.

Scholars constructed aesthetic theories and compiled comprehensive catalogues on the objects they saw and collected. The imperial court mandated the presentation of tribute gifts from all regions, ordered the production of models, and appointed special officials for the purpose of nurturing the manufacture of arts and crafts. Continuous innovation in the realm of scientific technology, in tandem with the growing dexterity of craftsmen, resulted in the creation of wares characterized by an interest in everyday life, a solemn formality of styles, and a natural grace. Neighboring regions, such as the Liao (916-1123), Western Hsia (1032-1227), Ta-li (752-1251), Chin (1125-1234), Mongolia, Korea, and Japan, all rushed to make diplomatic offerings and pursue trade relations, in large part to benefit from the burgeoning crafts industry in China. Porcelain and lacquerware thus were in heavy demand throughout East Asia.

Sung dynastic styles largely persisted in the neighboring Chin (1115-1234) and following Yüan (1271-1368) dynasties, the former later conquering the northern area of the Sung and the latter ultimately vanquishing it completely. Underglaze blue wares, carved lacquer, and enamelware, among other such decorative arts, gradually came to dominate the market in the late Yüan period, around the mid-14^th century. In fact, art from the period between the Sung and early Yüan became a revered classical model for handicrafts in later centuries.