Yaozhou ware
Yaozhou ware (耀州窑) denotes a major northern Chinese celadon tradition centered in the Huangbao and Chenlu districts of present-day Tongchuan, Shaanxi Province. Production began in the Tang period, expanded substantially during the Five Dynasties and Northern Song, and continued into the Jin period. Yaozhou ware is characterized by carved, molded, or impressed decoration beneath celadon glazes ranging from olive-brown to gray-green. Its development represents a sustained northern adaptation of celadon aesthetics distinct from the southern Longquan tradition.
Historical and Geographic Context
The Yaozhou kiln region occupied a position linking the Guanzhong plain with northern and central China. Its location along established transport corridors supported circulation of goods to political, religious, and commercial centers. The kilns supplied both local and court-related markets during the Northern Song period. Production continued under Jin administration following the 1127 territorial shift.
Archaeological excavations at Huangbao and surrounding kiln sites have identified multi-phase workshop complexes with stratified kiln remains, wasters, saggers, and glaze-drip fragments that allow reliable reconstruction of production chronology.
Kiln System and Workshop Organization
Yaozhou kilns employed dragon kilns built along slope gradients. Excavation demonstrates:
- Single-flue and multi-chamber kiln forms
- Firing structures adapted to maintain stable high-temperature conditions
- Use of saggers and separators to prevent vessel adhesion
Workshops contained:
- Clay refining basins for levigation
- Tools for controlled carving and incision
- Water-powered or hand-operated wheels for vessel forming
Division of labor is archaeologically supported, indicating separate roles for:
- Body forming
- Carving / surface preparation
- Glaze mixing and application
- Kiln operation
- Sorting and discard
Materials and Technical Characteristics
Body: Fine-grained stoneware clay, typically light gray to gray-buff in cross-section. Body density is moderately high with controlled porosity.
Glaze: Iron-bearing celadon glaze applied in moderate to thick layers. The glaze surface varies from olive brown to gray-green. Color variation is linked to:
- Iron content
- Firing atmosphere control
- Clay body composition
- Cooling rate
Firing Conditions:
- Approx. 1180–1250°C
- Reduction and partial oxidation phases controlled during the firing cycle
- Cooling regimes adjusted for glaze clarity and tone
Decorative Systems
Decoration is executed before glaze application.
Major decorative approaches:
- Carved decoration: Vessels carved with controlled, shallow relief floral or foliate motifs
- Incised line-work: Linear designs defining contours and internal patterning
- Molded decoration: Repeating motifs applied via carved molds in later periods
- Impressed motifs: Repeating small-scale stamps for texture fields
Decoration is functional to glaze behavior: relief contours retain thicker glaze, producing modulation of tone.
Form Typology
Yaozhou form typology is standardized and can be grouped as follows:
1. Bowls
* Deep and conical with slightly everted rims * Rounded profile forms with thickened rim edges
2. Dishes
* Flat-bottomed forms with low walls * Interior decorated; exterior typically undecorated
3. Ewers and pouring vessels
* Elongated spouts integrated into vessel wall * Strap or loop handles; minimal ornamental appendages
4. Vases and bottle forms
* Reserved silhouettes emphasizing vertical profile * Decoration concentrated around shoulders
5. Boxes and lids
* Disk-shaped; interior sometimes left unglazed * Secure fit achieved through controlled shrinkage ratios
Proportions favor stability of profile and structural clarity of silhouette.
Chronology and Stylistic Development
| Phase | Date Range | Characteristics |
|---|---|---|
| Early Phase | Late Tang – Five Dynasties | Thick glazes; limited carved ornament; utilitarian emphasis |
| Mature Phase | Northern Song (c. 960–1127) | Fully developed carved decoration; refined forms; controlled glaze tonality |
| Late Phase | Jin period (1127–1234) | Increased use of molded decoration; glaze tone shifts slightly toward olive-brown; broader distribution |
Distribution and Circulation
Material evidence indicates:
- Distribution throughout northern China
- Presence in monastic and court-related contexts
- Limited but documented trade into Central Asia
- Burial assemblages confirming social range of use
Yaozhou ware did not serve as an exclusive elite ware but was integrated across multiple socio-economic contexts.
Cultural and Historical Significance
Yaozhou ware is significant for:
- Demonstrating a sustained northern celadon tradition independent of southern Longquan aesthetics
- Providing archaeological continuity across political transitions (Northern Song → Jin)
- Representing one of the clearest examples of carved-decoration celadon techniques
- Serving as a diagnostic marker for kiln system organization in northern China
Related Pages
References
- Li Zhiyan, et al., eds. Yaozhou Ware of the Song and Jin Periods. Chinese Academy of Arts.
- Kerr, Rose. Chinese Ceramics. Victoria and Albert Museum.
- Medley, Margaret. The Chinese Potter: A Practical History of Chinese Ceramics.
- Priest, Alan. Celadon Wares of the Northern Kilns. Metropolitan Museum of Art.
