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Longquan celadon: timeless ‘jade’ of Chinese porcelain
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DUBBED the “jade” of Chinese porcelain, Longquan celadon stands out in the long history of Chinese ceramics for its translucent glaze, refined shapes and timeless elegance.
The firing technology of the ceramic has been enlisted into the Intangible Cultural Heritage of Humanity list of the United Nations Educational, Scientific and Cultural Organization (UNESCO) as the only porcelain-related item.
Originating in Longquan, east China’s Zhejiang Province, this ancient craft dates back to the Jin Dynasty (AD 265-420) and reached its peak during the Southern Song (1127-1279) and early Yuan (1271-1368) dynasties.
Longquan celadon was once exported across Asia and the Middle East via the Maritime Silk Road.
Longquan celadon is generally classified into two kiln styles: Geyao Kiln and Diyao Kiln, literally meaning the elder and younger brother kilns. According to legend, the names come from two brothers surnamed Zhang who were both skilled in porcelain-making.
The Geyao products are known for their crackled glaze, dark clay body and intricate patterns like ice cracks or fish scales, which form naturally during the firing. Geyao is also ranked among the “five great kilns” of the Song Dynasty (960-1279), along with Ruyao, Junyao, Guanyao and Dingyao.
The Diyao ware features a white clay base and a smooth, lustrous glaze in soft green or plum tones. The products are often compared to polished jade for their delicate brilliance.
Each piece of Longquan celadon undergoes a nine-step process, including shaping, trimming, glazing and multiple firings.
In the golden era of Longquan celadon, there were more than 300 kilns in Longquan. The ceramics were favored by the imperial court and aristocracy of that time.
However, the craftsmanship declined during the Ming Dynasty (1368-1644) due to depression in the export market.
It was not until 1957, when then Premier Zhou Enlai called on local artisans to revive the craft, that the Longquan celadon began its modern resurgence.
Today, the legacy continues. Contemporary celadon masters have reimagined the ancient tradition, creating pieces that have appeared at major international events such as the G20 summit in Hangzhou and the Belt and Road Forum in Beijing.
When celadon sings
Before children ever touch a violin or sit at a piano, many find their first rhythm in the kitchen — banging pot lids, tapping chopsticks on bowls or drumming out joy with spoons.
The American percussion group STOMP and South Korea’s “Cookin’ NANTA” took this childhood instinct global, turning kitchen chaos into musical performances.
But long before these modern stage sensations, the Chinese were already making music with bowls.
More than 1,000 years ago, during the Tang (AD 618-907) and Song dynasties, Chinese musicians were performing a refined version of what today might seem like a novelty act.
In teahouses, taverns, opera houses and even royal courts, artists struck celadon bowls crafted from the famed Yueyao kilns in Zhejiang to create delicate, melodic sounds. This unique tradition became known as ouyue (瓯乐). The word ou means small porcelain vessels used for drinking tea or wine.
As one of the world’s oldest porcelain kilns, the Yueyao kilns appeared during the late period of the Eastern Han Dynasty (AD 25-220). The celadon is the signature product of Yueyao kilns.
The art form has seen a revival in recent years following the excavation of more than 30 celadon musical instruments at the Yueyao kiln site at Cixi’s Shanglin Lake in 1998.
Last month, the Cixi Celadon Ou Music Troupe staged a performance at the Shanghai Children’s Art Theater.
Their instruments included celadon bianzhong (a set of bells), xun (a traditional Chinese wind instrument) and the centerpiece — celadon bowls, plates and paperweights tuned with precision.
In the past, tuning was done by adjusting water levels inside the utensils, but modern instruments now rely on careful control of porcelain thickness, density and shape.
“In the early days of our research, we made more than 200 ceramic instruments and only one was usable,” said Zan Hao, head of the troupe.
“Now, thanks to better data and closer collaboration with kiln masters, our success rate has risen to 30-50 percent.”
Born in 1987, Zan joined the troupe in 2014 after training in yangqin, or Chinese hammered dulcimer, at the Wuhan Conservatory of Music in central China’s Hubei Province. Now he plays a variety of porcelain instruments, including celadon bowl sets and bells.
“I couldn’t believe the sound when I first heard the melodies from porcelain,” Zan noted. “It’s not quite what we associate with instruments, nor with porcelain. It’s something entirely unique.”
Each piece of porcelain instrument is custom-crafted. The process is fraught with uncertainty.
“Once the porcelain enters the kiln, anything can happen,” Zan observed. “You never know if it will survive.”
Performing with fragile porcelain requires a new set of skills. Each piece demands precision; strike too hard and it shatters, too soft and it won’t resonate, he pointed out.
“When an instrument breaks, it really hurts,” he said while gesturing to a shattered porcelain plate.
The dish was broken during transport, according to Zan. To offer better protection, the troupe has redesigned their instrument cases.
The troupe of ancient art comprises 20 members, many of whom are Generation Z performers. With youthful energy and delicate precision, they breathe new life into this thousand-year-old tradition.
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