Song

Porcelain for the Emperors: Imperial Wares of the Song , Ming and Qing Dynasties

Robert D. Mowry

Ceramics made expressly for the Chinese Imperial Court first came to the fore during the Northern Song period (960–1127) with ivory-hued Ding ware and celadon-glazed Ru ware. Guan ware, with its crackled, grayish-blue glaze, enjoyed Imperial favor during the Southern Song period (1127–1279), and brought to a close the long tradition of subtly hued monochrome-glazed ceramics as those most preferred at court. Beginning life as a relatively humble ware during the Yuan dynasty (1279–1368), blue-and-white porcelains had claimed pride of place among Imperial wares by the early decades of the Ming dynasty (1368–1644). Porcelains embellished with designs painted in overglaze enamels, which had appeared already during the Ming, soared to popularity during the Qing (1644–1911), their naturalistic, pictorial designs exquisitely mimicking paintings on paper and silk.

A Guide to the Symbolism of Chinese Ceramic Decoration

Peonies, jasmine, chrysanthemums and other flowers are loaded with meaning in Chinese art.

Chinese porcelain has been decorated with a huge variety of motifs in the years since the first recognisable shapes appeared on painted pottery in the Neolithic period. Since the Song dynasty (960-1279) flowers have been among the most popular decorative themes.

This was particularly true on 18th-century enamelled porcelains. The choice of designs was based not only on their beauty, but also on what the motifs represented. ‘Throughout Chinese history, symbolism has been integral to its artwork,’ says Katie Lundie, Chinese Ceramics and Works of Art Specialist at Christie’s in London. ‘These links are often very playful.’

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