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The history of Chinese porcelain dates back to the Tang Dynasty (AD 618-907), when stoneware was refined into the white translucent material known as porcelain.
The Song Dynasty (960-1279) has been classed by some historians as the golden age of Chinese porcelain. In the early part of this dynasty, the north became the most important centre of ceramic production while different varieties were being made all over China.
In the Yuan Dynasty (1271-1368), Jingdezhen, in today's Jiangxi Province of East China, became the centre of porcelain production for the entire empire. Yuan Dynasty porcelain is characterized by underglazed blue and underglazed red ware, with designs painted beneath the glaze in cobalt blue or copper red, distinct features that replaced the more sedate monochromes of the Song Dynasty.
The imperial porcelain factory was established at Jingdezhen at the beginning of the Ming Dynasty (1368-1644). The imperial wares specially manufactured for use were exquisite, embossed with the mark of the emperor. In addition to the monochromes and the underglazed blue porcelains that continued to be produced among the official wares of the Ming Dynasty, innovations appeared throughout the period.
Before the end of the 17th century, the colours used in Chinese porcelain were primarily blue and white. But following the reign of Kangxi (1662-1722), a multi-colour palette became popular.
As for Chinese painting, it dates back 3,000 years. But it was not until the 5th century AD that a clear historical development can be traced.
The art of figure painting reached a peak of excellence in the Tang Dynasty, which also saw the rise of Chinese landscape painting.
In the Song Dynasty, landscape painting reached its greatest expression. The technique of ink monochrome was developed with great skill and a single bamboo shoot, flower, or bird provided the subject for a painting.
With the rise of the Yuan Dynasty, painting reached a new level of achievement. The human figure assumed greater importance, and landscape painting acquired a new vitality.
The surface of the paintings, especially the style and variety of brush strokes, became important. During this time, a majority of works were produced by the literati as means of enjoyment and self-improvement.
Under some of the emperors in the Ming Dynasty, a revival of learning and of older artistic traditions was encouraged and connoisseurship was developed. Bird and flower pictures exhibited the superb decorative qualities so familiar to the West.
Under the Qing Dynasty, a high level of technical competence was maintained, particularly in the applied arts, until the 19th century. On the other hand, less mainstream painters such as Shi Tao and Zhu Da stood out as artists of remarkable personal vision.
(China Daily April 11, 2003)
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