Yingqing ware
Yingqing ware (影青), often translated as "shadow-blue ware," is a refined substyle of Qingbai ware characterized by its exceptionally pale, almost translucent blue-green glaze. Produced primarily in the Jingdezhen region of Jiangxi during the Southern Song and Yuan dynasties, Yingqing ware represents the highest technical and aesthetic development of the Qingbai tradition before the rise of blue-and-white porcelain.
The term “Yingqing” refers to the subtle, shadow-like quality of the glaze, which appears white in some lighting and soft blue in others.
Historical Background
Yingqing developed from earlier Qingbai ware during the 12th–13th centuries, at a time when taste in the Song court favored understatement, purity of form, and quiet elegance. The refinement of material processing in Jingdezhen, especially improved kaolin washing and glaze clarity, enabled potters to produce thinner vessel walls and more luminous glazes.
During the Yuan dynasty, Yingqing ware continued to be produced, but gradually declined in prominence as cobalt-decorated Blue and white porcelain became the dominant style.
Materials and Production
Yingqing ware is notable for:
- A pure, finely levigated kaolin-based porcelain body
- A thin, highly transparent glaze with minimal iron content
- High firing temperatures, typically around 1280–1300°C
- Extremely light and delicate vessel profiles
Production stages included:
- Clay purification through repeated washing
- Throwing or mold-pressing into thin-walled forms
- Fine trimming and smoothing
- Application of diluted clear glaze
- Firing in a reduction atmosphere to achieve the slight blue tone
The paleness of Yingqing is a deliberate aesthetic, not a flaw.
Characteristic Forms
Yingqing ware frequently takes forms associated with refined literati culture:
- Tea bowls and saucers
- Meiping vases
- Shallow dishes with carved floral relief
- Small incense burners
- Miniature offering vessels for altars or scholar's desks
- Burial and temple objects in ceremonial sets
Surface decoration is typically:
- Carved (雕花)
- Incised (刻花)
- Molded in relief (印花)
Motifs include:
- Lotus petals
- Plum blossoms
- Cloud-scrolls
- Abstracted water waves
Kilns and Regional Variants
| Kiln / Region | Notes |
|---|---|
| Jingdezhen (景德镇) | Main production center, technical and aesthetic refinement |
| Hutian Kilns (湖田窑) | Important Song–Yuan cluster specializing in thin-walled Yingqing vessels |
| Southern export kilns | Produced Yingqing forms traded along the Maritime Silk Road |
Cultural Significance
Yingqing ware is often described as the **pinnacle of Song-period porcelain aesthetics**, embodying values of:
- Subtle beauty over display
- Balance between form and function
- Quiet refinement (雅, ya)
- Spiritual clarity and understatement
It was used among:
- Scholar-official circles
- Buddhist and Daoist ritual settings
- Maritime export trade networks
Relationship to Qingbai Ware
| Style | Appearance | Time Period | Refinement Level |
|---|---|---|---|
| Qingbai | Light blue-green | Song–Yuan | Broad range |
| Yingqing | Pale, translucent, nearly white-blue | Southern Song–Yuan | Most delicate and refined |
Yingqing can be considered the **high-grade "elite" expression** of the Qingbai tradition.
Related Pages
References
- Medley, Margaret. The Chinese Potter: A Practical History of Chinese Ceramics.
- Li Zhiyan, ed. Song Dynasty Qingbai and Yingqing Wares. Chinese Academy of Arts.
- Kerr, Rose. Chinese Ceramics: Song and Yuan Dynasties.
