A Research About The Offical-Style Porcelain Of Longquan Kiln In The Yuan Dynasty And The Early Ming Period

In Chinese ceramic history, the Longquan kilns were playing a rather significant role, in which their vast majority of beautiful and elegant celadon wares had been produced in the period from Song to Ming dynasty. Each period of Longquan celadon has its own distinct characteristics:the Northern Song celadon wares had a light greenish blue glaze and the carved and moulded patterns; the jade-like and plum green glazed celadon was only popular in the Southern Song period; the Yuan Dynasty applique and unglazed panel-decorated celadon had been commonly manufactured and into the age of Ming and Qing, the carved and moulded celadon became popular again. By the Song Dynasty, the Longquan celadon had been traded to the Chinese domestic markets as well as the other parts of the world that it had been vastly accepted by ancient merchants and consumers.The historical position of Longquan kilns is a hotly debate, which has troubled us that there is no a common understanding between scholars and it is a very problematic part in the Longquan celadon historical studies. The period from Yuan to the early Ming dynasty is an important developing age and it needs to be concerned that the discussion of Longquan celadon manufacturing methods and kiln industry in this period allows us to have a better understanding on the development of Longquan kilns.Based on the above-mentioned problems, this thesis therefore aims to present the analysis of the Longquan celadon industrial patterns, which will compare the Longquan products with Jingdezhen porcelain and develop the understanding on the official-style Longquan productions in the period from Yuan to the early Ming Dynasty. According to this preliminary analysis with historical information and the latest archaeological excavations and researches, it can be known that, to some extent, the Longquan kilns was one of the imperial kilns and the imperial celadon wares produced in the Longquan kilns were strictly following the Imperial Ceramic Requirements. Following this conclusion, this thesis will also concern about the historical position of the Longquan kilns from Yuan to the early Ming period and it will be simultaneously discussed.