Longquan celadon

Longquan celadon (龙泉青瓷) refers to the celadon-glazed stoneware produced in and around Longquan County in southwestern Zhejiang Province. Characterized by its green-toned glaze, thick vitrified body, and refined forms, Longquan celadon represents one of the most significant ceramic traditions of the Song and Yuan dynasties, achieving wide distribution throughout East, Southeast, and West Asia. It is regarded as the apex of celadon aesthetics in China.

Historical Background

Celadon production in the Longquan region began during the late Tang to Five Dynasties period. By the Northern and Southern Song dynasties (10th–13th centuries), Longquan kilns developed a mature ceramic body and translucent glaze with a range of tonal variations from pale bluish-green to deep olive-green.

In the Southern Song period, Longquan celadon flourished under court patronage in Hangzhou, and became associated with elite, literati, and temple use. During the Yuan dynasty, production scales expanded significantly to meet domestic and maritime export demand. Large quantities were exported across the Indian Ocean to the Middle East, East Africa, and Southeast Asia.

Longquan celadon continued into the Ming dynasty, though later wares often exhibit heavier bodies and thicker glazes.

Materials and Techniques

Longquan celadon is defined by:

• A stoneware body made from locally sourced clay with moderate iron content
• A feldspathic glaze containing iron oxide, which produces green coloration after firing
• High-temperature reduction firing in dragon kilns (long, sloping kilns typical of southern China)
• Vitrification that produces a dense, resonant body and smooth glaze surface

The green color (青, qing) is not applied pigment; it is the result of:

• Iron oxide in the glaze under reducing kiln atmosphere
• Varying kiln temperatures and firing positions
• Interaction between glaze and clay body

Characteristic Forms and Aesthetic Qualities

Longquan ware is recognized for:

• Balanced vessel proportions
• Even, fluid glaze application
• Thick glaze pooling along contours
• Soft gloss surface and subtle translucency

Common forms include:

• Bowls with rounded profiles
• Dishes with foliate rims
• Meiping and mallet-shaped vases
• Altar and ritual vessels
• Water droppers and scholar’s desk objects

Decoration is typically restrained, often limited to:

• Carving (刻花)
• Molding in relief (印花)
• Lobing inspired by flower or melon forms

The aesthetic aligns with Song dynasty values of refinement, simplicity, and internal harmony.

Kiln Sites and Regional Variants

Kiln / Region	Notes
Dayao Kiln Complex (大窑窑场), Longquan, Zhejiang	Principal production area; source of high-quality Southern Song and Yuan celadons
Jincun Kiln (金村窑), Longquan region	Produces thick, jade-like glazes associated with classic “ice-crack” surfaces
Anfu and subordinate kilns in Southern Zhejiang	Supplied export markets with broader variation in tone and body

While Longquan is a geographic term, the style encompasses multiple related workshop clusters.

Cultural and Historical Significance

Longquan celadon occupies a central position in the history of East Asian ceramics because it:

• Represents the culmination of Chinese celadon glaze technology
• Served as a model for celadon production in Korea, Japan, and Southeast Asia
• Functioned as a major export commodity through maritime trade networks
• Embodies core aesthetic principles of Song ceramic artistry

Historical records show that Longquan celadon was used in:

• Palace and temple contexts
• Ancestral ritual offerings
• Elite tea and dining settings
• Diplomatic exchange

Related Pages

• Yixing Zisha stoneware ← next article
• Qingbai ware
• Longquan celadon kiln sites
• Blue and white porcelain
• Jingdezhen porcelain

References

• Kerr, Rose. Chinese Ceramics. Victoria and Albert Museum.
• Medley, Margaret. The Chinese Potter: A Practical History of Chinese Ceramics.
• Li Zhiyan, ed. Longquan Celadon of the Song and Yuan Dynasties.