Black Ding

Black Ding refers to a group of dark-glazed wares produced at the Ding kilns in Quyang, Hebei Province, primarily during the Jin and Yuan periods (12th–14th century). These wares represent a diversification of Ding production following the decline of White Ding’s central status in Northern Song court culture. Black Ding should be understood as part of a later-phase workshop adaptation, rather than as a parallel tradition originating from the beginning of Ding kiln history.

Historical Context

The political realignment following the Jurchen Jin occupation of northern China (1127 onwards) altered the structure of ceramic patronage and distribution. With the Song court relocated to the south, the Ding kilns no longer served a primary court-supply function. Production subsequently broadened to supply regional and commercial markets. Within this context, dark-glazed wares — now termed Black Ding — emerged as one of multiple new kiln outputs.

These wares reflect changing market tastes, increased workshop flexibility, and the use of locally available iron-rich slip materials suitable for dark glaze development.

Materials and Glaze Characteristics

Black Ding wares are made from the same basic clay bodies as White Ding, but:

The surface is coated with a high-iron glaze that fires to black or dark brown.
The glaze texture is typically smooth and glossy, though local pitting may occur.
The glaze is applied more heavily than in White Ding, resulting in deeper saturation.

The black coloration derives from:

Elevated iron content in the glaze mixture
Oxidation firing, producing ferric iron chromophores
Occasional micro-variation leading to brown-to-black chromatic shifts

Decorative Approaches

Decoration differs from the understated incised or carved motifs of White Ding:

Sgraffito decoration (designs scratched through the dark glaze to reveal pale clay beneath)
Combed and cut-line ornament, often geometric or floral
Applied slip motifs in lighter tones for contrast
Minimal carved ornament, retained only in certain transitional examples

These techniques emphasize contrast-based ornamentation, in contrast to White Ding’s surface subtlety.

Forms

Common vessel types include:

Bowls and dishes with upright or slightly flared rims
Tea bowls and small cups
Jars and covered containers
Domestic-use vessels rather than court ritual forms

The forms are generally more robust than typical White Ding table wares, suggesting broader household distribution.

Kiln Sites and Archaeological Evidence

Excavations at:

Quyang kiln complex (Hebei) — primary production site
Satellite kiln workshops serving regional distribution zones

have revealed:

Waster layers containing both White and Black Ding fragments
Transitional pieces showing glaze experimentation
Kiln furniture with glaze-drip profiles corresponding to dark glaze viscosity

This indicates Black Ding developed within existing Ding infrastructure rather than at separate kiln groups.

Cultural and Market Position

Unlike White Ding, which was associated with imperial and elite dining, Black Ding circulated primarily in regional and commercial markets. Its later historical appreciation is based on:

The visual contrast of dark glaze and incised decoration
Its role as evidence of workshop adaptation after the decline of court monopolies

It is not indicative of downgraded quality, but of shifted functional and aesthetic context.

References

Li Zhiyan (李知宴), ed. Zhongguo Tao ci Quan shu (中国陶瓷全书). Beijing: Shanghai Kexue Jishu Chubanshe.
Kerr, Rose. Song Dynasty Ceramics. Victoria and Albert Museum, London.
Medley, Margaret. The Chinese Potter: A Practical History of Chinese Ceramics. Phaidon.
Gyllensvärd, Bo. Chinese Ceramics in the Carl Kempe Collection. Stockholm.
Wang Qingzheng (王庆征). Dingyao Baici (定窑白瓷). Shanghai Museum Publications. (discussion of later-phase diversification)