Yaozhou kilns originated during the Tang dynasty in Huangbao town, Tongchuan prefecture, Shanxi Province. Yaozhou wares had many varieties--white, green, black, brown and splash glaze porcelains. The kilns also made Sancai (tri-colour) wares during the Tang Dynasty. During the 5 Dynasties, Northern Song and Jin, Yaozhou kilns specialised in greenwares (celadon) and became the most important producer in the north. Yaozhou wares showed great varieties, including bowls, dishes, plates, cups, boxes, pillows, vases, ewers, lamps, burners, inkstone, water droppers, Chinese chess pieces (Weiqi) etc. as well as large quantities of porcelain sculptures of sheep, dogs, horses, lions, infants, dwarfs, Buddhist deities, etc. 

Tang Yaozhou with brown glaze decoration in Shanghai Museum Museum

5 Dynasty Period

The Yaozhou celadon of the 5 dynasty period imitated the form of gold and silver wares.  The colour varies from light greyish green, light green, powdery green and light bluish green  Some of the outer base also have the character guan inscribed.  The footring of the period is wide and ring shape in form and fully glazed.  On the outer base or footring, usually you would find the spur marks.

5 Dynasties Plate in Shanghai Museum

Northern Song Period

During the Northern Song period, the footring became smaller and taller.  The footring is well-made , neat and has clear signs of trimming of the lip of the footring to remove the glaze. The is also a type with a unglaze ring on the outer base to support the ring shape support during firing.

During the late Song period, the footring became low and the bulging of the outer base became distinct.  A type of funnel shape bowls were made and became very popular during the period.  They are usually decorated with impressed motif.  The footring of the late Song period tends to be less well trimmed and grits adhesion near the footring and outer base is common.

The carved floral motifs of Northern Song period is excellent.  The lines were strong, deeply cut, firm and beveled along the outline of the motifs.  Under the green glaze, the motifs stands out clearly.  The dark outline where the glaze gathered contrasts well with the lightly glazed surface of the motifs. Subsequently impressed relief types were introduced and mainly used since the late Song period.   The well made impressed types can be very clear and sometime needs to be examined closely to distinguish it from the carved version. A type of funnel shape bowls was also introduced during the late/Northern Song period.  It is usually impressed with floral, birds/fish in waves and infants among foliage  motif. Other less common motifs include  flying fairies, dragon, phoenix, makara (a form of mythical creature with dragon head and fish body) and etc. 

The body of a typical Yaozhou vessel is fine grained and grayish white, contracting tightly in firing.  The wall of the bowls are generally thin as compared with the later Jin period pieces.  The yaozhou glaze is a lime-alkali rather than the lime glaze time.  The 1300 degree centigrade firing temperature and thin application prevent the sort of jade like quality associated with lime alkali glaze if applied thickly.  By deliberate slow cooling, the glaze does not develop excessive glassiness but has  more of a silky feel and touch.

During the Northern Song period, coal was used to fire the kilns.  As the result, the glaze color changed to an olive green ranging in tone from dark to light, but without any bluish tinge.  The glaze has a high transparency, glossy and thin. The outer base and area near the outer footring of the bowls is usually scorched to a varying degree of brown  color.  

Vase with curved floral motif in Shanghai Museum

Stem bowl in Shanghai Museum

Vessel with curved motif  in Shanghai Museum

Jin/Yuan Period

During the Jin period, to increase production volume, the size of the kiln is enlarged to accommodate more pieces for each firing.  As a result, the control of the firing atmosphere is difficult and affected the quality of the glaze.  Many of the pieces have a ginger yellowish colour tone.  Generally, the bowl is thickly potted and the mouth rim portion is thick.  The motif also become less elaborate and simple as compared with the Northern Song pieces.

A type of celadon with a whitish tone glaze called "Yue bai", literally meaning moon white, was introduced.  The good ones have a jade like glossy quality.

Jin Yaozhou Yuebai glaze jar in Shanghai Museum

In line with the objective of improved productivity, the stacking method was also introduced so that more bowls could be put in a single saggar.  Hence, majority of the pieces have an unglaze ring on the interior base. During the Yuan period, production continued but on a much reduced scale.  The quality of the vessels also deteriorated further.

Jin Bowl with curved cow motif in Beijing palace Museum

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Great Examples of Yaozhou celadon Wares

1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14, 15 ,16

Yaozhou ware symposium 2004 Video

Copyright : NK Koh (6 Mar 2008)