Molded Qingbai

Molded Qingbai refers to Qingbai ware decorated with motifs formed using carved molds or impressed pattern plates prior to glazing, produced mainly at Jingdezhen and related kiln sites from the Southern Song through the Yuan period (12th–14th century). The molding technique in this context was chosen to create patterns that interact optically with the translucent, pale blue-green glaze surface characteristic of Qingbai ware, resulting in subtle relief that appears to emerge from within the glaze.

Historical Context

Qingbai ware developed in Jingdezhen under conditions favoring light-bodied porcelain production with clear, cool-toned glaze surfaces. As kilns refined glaze clarity and body whiteness during the Southern Song period, potters adopted molding techniques to enhance the perceptual depth of surface ornament. Molded Qingbai was used for both domestic tablewares and higher-grade objects intended for literate and religious audiences.

The technique reflects the broader Southern Song preference for **delicacy, restraint, and atmospheric surface effects** rather than bold pictorial decoration.

Materials and Glaze Aesthetic

Qingbai ware is made from:

Porcelain bodies of kaolinitic clay refined to achieve whiteness and translucency
A thin, transparent glaze with a cool blue-green tone, created by low iron content fired in reduction

The clarity of the glaze allows light to penetrate and refract across the shallow relief. Molded designs therefore appear:

Softened
Visually embedded within the glaze
Dependent on changing light, not line contrast

This is a distinct aesthetic separate from incised, carved, or painted surface treatments.

Decorative Themes

The molded motifs align with broader Southern Song decorative sensibilities and often include:

Lotus blossoms, petals radiating gently under glaze depth
Chrysanthemum and peony sprays, expressed in shallow massing rather than outline
Fish, phoenix, or paired-bird motifs, simplified to gentle relief silhouettes
Infant figures in garden or lotus settings, a theme linked to domestic blessing contexts

The relief is intentionally low and rounded, avoiding abrupt edges that would disrupt glaze flow.

Forms

Molded Qingbai decoration appears on:

Bowls and dishes with deep, rounded interiors suited to centralized molded medallions
Small lidded boxes (often cosmetic, incense, or offering containers)
Ewers, cups, and small vases used in literati scholars’ studios
Miniature devotional vessels intended for household altars

The forms are generally light in profile, emphasizing thinness and translucency.

Kiln Sites and Archaeological Evidence

Primary kiln sites:

Jingdezhen, Ji'an Prefecture — main production center
Hutian kiln complex — major source of molded Qingbai domestic wares
Jiangxi satellite workshops producing related molded types

Archaeological finds include:

Mold fragments carved with lotus and foliate motifs
Bisque-fired blanks showing shallow relief prior to glaze
Waster heaps demonstrating glaze pooling accentuated at relief edges

These remains confirm molding as a deliberate aesthetic strategy, not merely a production expedient.

Cultural Position and Reception

Molded Qingbai expresses a Southern Song aesthetic of quiet refinement:

Ornament is present but not assertive
Meaning resides in material continuity rather than narrative representation
The visual effect depends on light, curvature, and glaze clarity

Qing dynasty collectors later described these wares as “light as frost and clear as water,” referencing the perceptual transparency of glaze over molded form.

References

Kerr, Rose. Song Dynasty Ceramics. Victoria and Albert Museum, London.
Pierson, Stacey. Song Ceramics: Art, History and Archaeology. British Museum Press.
Medley, Margaret. The Chinese Potter: A Practical History of Chinese Ceramics. Phaidon.
Li Zhiyan (李知宴), ed. Zhongguo Tao ci Quan shu (中国陶瓷全书). Beijing: Shanghai Kexue Jishu Chubanshe.
Peng Shifan (彭世藩). Jingdezhen Qingbai Ci (景德镇青白瓷). Jiangxi Fine Arts Publishing House.