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Explore the delicate beauty of Dehua porcelain
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DEHUA County in Fujian Province has a history of making porcelain dating back to the Tang Dynasty (AD 618-907). The county thrived in the Song Dynasty (960-1279) when Dehua white-glazed porcelain was exported to Europe and Africa.
During the Ming (1368-1644) and Qing (1644-1911) dynasties, Dehua artisans created some innovative techniques.
Take a trip through history at Zhejiang Museum, where an exhibition of 68 exquisite Dehua porcelain pieces is ongoing through February 15, 2015. The pieces are on loan from Fujian Museum.
The porcelain is categorized into four categories — interior furnishings, religious sculptures, scholar’s stationery, and tableware.
The pieces in the interior furnishings category were mainly produced in the Ming Dynasty, when interior design reached a high point. Custom dictated that a family should have two vases, two candlesticks and an incense burner.
Dehua craftsmen engraved dragon, phoenix and flower patterns on such items, endowing the simple white-glazed porcelain with an elegant beauty.
Of the known 3,980 Dehua carved porcelain pieces in China, there are 552 Avalokitesvara and 124 Bodhidharma sculptures.
The large quantity of Buddhist sculptures was related to master He Chaozong.
He was a Dehua native considered by many to be the leading master of carved porcelain. He will forever be known for combining clay, wood and stone carving techniques with white-glazed porcelain.
Buddhist and Taoist statues were always huge back them, epitomized by the Yungang Grottoes in Shaanxi Province. However, small sculptures became popular once He’s creations were seen. The “mini sculptures” started to convey artistic and aesthetic elements due to his creativity.
The Buddhist and Taoist white-glazed sculptures generally typified the highest level of porcelain carving craftsmanship. They feature smooth lines and vivid facial expressions — some take on pleasant looks while others look more dignified.
In ancient times, scholars preferred elegant stationery items. Dehua folk artisans, therefore, often created animal-shaped porcelain inkstones and seals with patterns engraved on the surface.
In the tableware category, visitors may notice that plum blossoms are the most common pattern appearing on vessels. Since plum flowers bloom in winter, the trees are considered one of the “three friends of the cold,” along with pine and bamboo. The plum blossoms are one of the “four gentlemen of flowers” in Chinese art along with orchids, chrysanthemums and bamboo, all of which are said to symbolize nobility. Using tableware engraved with plum blossoms was a way for scholars to express their noble aspirations and admiration for high-minded things.
Ancient Dehua craftsmen also learned to make porcelain in the shape of a rhinoceros horn cup, which was a luxurious utensil only for imperial court members and patricians. The white-glazed porcelain versions were rather delicate and ingenious.
The rice wine industry developed considerably during the Ming Dynasty and Dehua craftsmen cashed in on this trend by making a variety of white-glazed wine vessels.
The exhibited wine vessels reveal how craftsmen drew inspiration from bronzes and other traditional Chinese crafts and integrated them with the characteristics of white-glazed porcelain.
The popularity of Dehua white-glazed porcelain declined during the Qing Dynasty as blue and white porcelain became highly prized.
Date: Through February 15
Address: Gushan Pavilion, Zhejiang Museum, 25 Gushan Rd
Admission: Free
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