While we have previously covered Longquan kilns, let's focus on the techniques and how they were adapted in Ming Dynasty. Even though the Longquan kilns saw a decline in prominence, the techniques for producing celadon wares were continued and reinterpreted in many Ming Dynasty ceramics. The versatility and elegance of celadon styles meant that they continued to be influential even during this period of stylistic change and innovation.
The Song Dynasty is often regarded as the golden age of Chinese ceramics, and Song celadon stands as a pinnacle of ceramic artistry. Characterized by its subtle green hues, ranging from pale jade to deep olive, Song celadon is celebrated for its elegant forms, smooth glazes, and understated decoration. Unlike the vibrant, multi-colored wares of the preceding Tang Dynasty, Song celadons embraced simplicity and a harmonious balance between form and glaze. The focus shifted to the intrinsic beauty of the material and the nuanced shades achieved through masterful kiln firing.
The Tang Dynasty (618-907 AD) represents a crucial period in the history of Chinese ceramics, particularly in the development and refinement of celadon wares. While not as dramatically innovative as the later Song dynasty, the Tang era saw a significant leap in kiln technology, material preparation, and artistic understanding that laid the groundwork for future ceramic masterpieces. Celadon, with its subtle green hues reminiscent of jade, enjoyed immense popularity, favored by both the imperial court and the burgeoning merchant class. Tang celadon wasn't just about mimicking jade; it was about capturing the essence of natural beauty and the philosophical ideals of the time.