Evolution and Characteristics of Chinese Blue and White Porcelain from the Yuan to Qing Dynasties
"Blue and white porcelain" refers to one of the traditional decorative arts of Chinese porcelain. Its characteristic feature is that cobalt-based designs are painted on a white or light-colored porcelain body, then coated with a clear glaze and fired at high temperatures, which makes the designs appear blue, hence the name "blue and white." This art form originated during the Tang dynasty and flourished during the Yuan, Ming, and Qing dynasties, becoming one of the representative styles of Chinese porcelain. Known for its elegant colors, exquisite patterns, and durability, blue and white porcelain has been cherished both in China and internationally. The patterns often depict flowers, landscapes, figures, and animals, reflecting traditional Chinese culture and aesthetics.
Mature blue and white porcelain appeared in Jingdezhen during the Yuan dynasty. The porcelain body of Yuan blue and white was made with a formula combining porcelain stone and kaolin, which increased the Al2O3 content, raising the firing temperature and reducing deformation during the firing process. As a result, the porcelain body was thick and solid, with a slightly gray or yellow hue and a loose texture. The glaze was either a greenish-white or egg-white color, with a strong opacifying effect. Two types of cobalt blue were used: a high-manganese, low-iron type that produced a bluish-gray tone, and a low-manganese, high-iron type that resulted in a vibrant blue-green color with rust spots. Some pieces used both types. Common forms included everyday items, ritual vessels, and burial objects, with bamboo-stem stem cups and burial vessels being particularly characteristic of the period. Most objects had unglazed sand bases, showing red firing marks.
During the Ming dynasty, blue and white porcelain reached its peak, especially during the Yongle and Xuande reigns, known for their exceptional craftsmanship. The imperial kilns of this period were meticulous and refined, while folk kilns were more spontaneous and expressive. By the late Ming period, blue and white painting began to incorporate elements of traditional Chinese painting techniques.
In the Qing dynasty, under the reign of Kangxi, "five-colored blue and white" porcelain marked a high point in its development. However, after the reign of Qianlong, the rise of famille rose porcelain led to a decline in blue and white. Although there was a brief revival during the late Qing (Guangxu period), it could not recapture the grandeur of the Kangxi period. The early Qing period, under Shunzhi (1644–1661), laid the foundation for the later peak under Kangxi. Shunzhi-era blue and white porcelain had the following features: limited shapes, mainly censers, gu vases, bottles, plates, bowls, and jars. The porcelain body was generally rough, with large pieces like censers and gu vases being thick and heavy, while smaller pieces like plates and bowls were lighter. Some pieces had a fine, compact texture resembling glutinous rice. The glaze was usually white with a hint of green or gray and was thinly applied. The cobalt blue used was a mix of Zhejiang cobalt and stone cobalt, resulting in both greenish and bluish tones. Floral, bird, landscape, and mythical beast motifs were common, and larger plates often featured a blue border around the rim, with the main design inside the circle. Small plates frequently depicted a sycamore leaf on one side, along with poetic phrases like "One leaf falls from the sycamore tree, signaling the arrival of autumn." Large vessels like bottles and gu vases often used blue lines to separate decorative sections, with painting techniques combining outlines, flat coloring, shading, and line drawing. The overall style was more casual than in late Ming, though not as precise and detailed as during Kangxi. The compositions were full, especially on large plates, jars, and vases, with some early use of shading techniques, though still in their infancy. Many pieces had unglazed sand bottoms, and plates, bowls, and jars often had visible glaze shrinkage or knife marks. There were many folk kiln products and fewer imperial kiln items, with very few pieces bearing reign marks.
