White Ding

White Ding refers to the white-bodied, transparent-glazed stonewares produced at the Ding kilns in Quyang County, Hebei Province, primarily during the Northern Song period (960–1127). Ding ware is historically recognized as one of the "Five Great Wares" (五大名窑) of the Song dynasty. White Ding represents the core output of the kilns during their height, before the later emergence of darker and more experimental glaze varieties.

Historical Context

The Ding kilns developed under the patronage and demand structures of the Northern Song elite. Their geographic proximity to Kaifeng facilitated efficient court procurement. White Ding wares were produced within a workshop environment of increasing specialization, where kiln organization, firing procedures, and decorative techniques were systematically refined to meet court expectations for surface purity, thin vessel walls, and understated ornamentation.

By the mid-11th century, White Ding had become closely associated with elite dining and ritual settings. Although Ding ware continued after the relocation of the Song court to the south, its status as a primary court ware declined once imperial commissions shifted toward kilns in the south (particularly Ru and later Longquan traditions).

Bodies and Glazes

White Ding bodies are composed of:

Thinly levigated kaolinitic clays
Containing minor iron content, which fires to a pale creamy white

The glaze is:

Transparent or slightly yellowish, depending on iron traces
Typically thinly applied
Fired in oxidation atmospheres, producing a clean, neutral surface

Spur marks on the interior or base often result from inverted firing arrangements, where vessels were supported rim-down to ensure glaze continuity across the interior surface.

Decoration

Decoration in White Ding is generally:

Incised using fine tools for linear motifs
Carved in low relief for floral and vegetal designs
Impressed with patterned stamps for repeated units

Common motifs include:

Lotus petals (often arranged in scroll formations)
Peony sprays
Paired birds and foliate scrolls
Geometric borders in narrow bands

The ornament is subtle, subordinated to the clarity of glaze, and emphasizes surface modulation rather than pictorial representation.

Forms

Frequently produced forms include:

Dishes and bowls with thin, taut profiles
Ewers and small pouring vessels
Covered boxes with closely fitted lids
Ritual and presentation vessels for elite dining

The profile tends toward refined curvature, with minimal heavy massing.

Kiln Sites and Archaeological Evidence

Major archaeological sites include:

Quyang kiln complex (Hebei) — primary production center
Associated satellite workshops supplying raw materials and kiln furniture

Excavations have yielded:

Saggars and kiln supports
Overfired and waster fragments showing glaze-flow and spur-mark configurations
Carving tools and stone templates for relief motifs

Status and Reception

White Ding held a prestige status in Northern Song court and elite culture, valued for its:

Controlled surface purity
Thin vessel structure
Balanced, non-excessive ornamentation

Later periods, particularly from the Yuan and Ming onward, preserved White Ding as a **historically esteemed ware**, even as aesthetics shifted toward celadon and blue-and-white.

References

Li Zhiyan (李知宴), ed. Zhongguo Tao ci Quan shu (中国陶瓷全书). Beijing: Shanghai Kexue Jishu Chubanshe.
Medley, Margaret. The Chinese Potter: A Practical History of Chinese Ceramics. Phaidon.
Kerr, Rose. Song Dynasty Ceramics. Victoria and Albert Museum, London.
Pierson, Stacey. Song Ceramics: Art, History and Archaeology. British Museum Press.
Wang Qingzheng (王庆征). Dingyao Baici (定窑白瓷). Shanghai Museum Publications.