Ge Ware originated in the Song Dynasty, about 800 years ago. Ge Ware represents one of the pinnacles of Chinese porcelain. Only a few hundred pieces remain, all of them priceless. Ge Ware is renowned for the high skill needed to create their distinctive crackling pattern.

Ge Ware destroyed due to improper handling.

China Jingdezhen Int’l Ceramics Fair 2011 has opened in the porcelain harbor of Jingdezhen, in the Eastern China’s Jiangxi province.

China Jingdezhen Int’l Ceramics Fair 2011 has opened in the porcelain harbor of Jingdezhen, in the Eastern China’s Jiangxi province.

Language:     Chinese and English bilingual
Author:           Zhang Bai   
Pub. Date:      2008
Format:           Special;  215*290mm;   240 pages with color photos
Subject:          Collection     

【Introduction】

   1. Tianjin Area
Tianjin is located in the northeastern corner of Huabei Plain. Bound on the north by the Yan mountains, on the east by the Bohai Sea, crossed by the Daqing and Ziya rivers, the Northern and Southern canals, Hai and Jiyun rivers, Tianjin from antiquity served as a major crossroads for sea and river commerce.
Ming and Qing period porcelains from the Tianjin area are quite spectacular. Types include vases, jars, handled ewers, bowls, and various dishes. Bodies are made usually out of refined clay and tend to be delicately thin. Porcelain types include those with underglaze blue or red designs, and those with black, white, soy-brown, bluish-white (qingbai), or black-and-white colored glazes. Techniques of creating ornament are various. Themes featured on blue-and-white colored wares include primarily plantains, stylized grasses and leaves, cloud scrolls, floral scrolls, lotus petals, hollowed rocks, and coiled dragon motifs. On the undersides of circular feet of vessels one frequently sees the mark of studio names, known in Chinese as “tang kuan.”2. Liaoning Area
Based on current archaeological data, the majority of Liaoning ceramics derive from tombs. The earliest finds include a six loop-lug greenware jar from the tomb of Han Ji at Chaoyang, dated to 612 of the Sui dynasty (the 8th year of Daye). During the Tang, Chaoyang (the then Luicheng city) was the administrative capital of Yingzhou commandery; it was the country’s northeastern stronghold, thus the area has a significant number of Sui and Tang tombs. The most commonly witnessed vessel type is the multiple loop-lug jar, a hallmark of northern greenwares.3. Jilin Area
Jilin is located on China’s northern frontier, far away from the well-known porcelain manufacturing centers of the Central Plains and Yangtze River valley. Ceramics came late to Jilin. Archaeology works have recently been very active in Jilin. A remarkably large group of finds derive from Ming tombs in Fuyu county. Porcelain types vary from famille rose, wucai (five colors), blue-and-white, to white. Themes vary from flowers and grasses, birds and insects, floral scrolls, to inscriptions. Vessel types include bowls, dishes, stem cups, and yuhuchun vases. Ceramic figurines of dogs, rams, and human heads have also been excavated from the Tahu city site of Liao and Jin period date.4. Heilongjiang Area
Heiliongjiang, located on the northeasternmost edge of China, is one area that has not yet revealed evidence of an ancient kiln site. The earliest ceramic remains currently known come from the Bohai period (contemporaneous with Tang dynasty) Longquan prefecture (the Shangjiang or Superior Capital) in today’s Ning’an city. A total of ten porcelains have been unearthed from the residential area in the western part od the city; No.1 Buddhist Temple in the eastern part; administrative office in the eastern part of the palace area; and royal residence in the western part of the palace area. Nine of these are white-galzed bowls, and only one of which can be restored and may be characterized as having a lipped mouth, inwardly sloping belly, a jade disk-shaped base. Another is a black-glazed jar with damaged mouth, straight belly walls, and a flat base, similar bowls and jars have been discovered in Tang tombs of the Central Plains, suggesting that these vessels were manufactured there.

【Main Contents】

1. Greenware (qingci or qingyouci) bowl
2. Greenware jar with four loop-lugs
3. Greenware vase with two lugs
4. Greenware ewer
5. White-glazed bowl
6. Greenware dish with carved chrydanthemum design, Yaozhou ware, Shaanxi
7. White-glazed dish in lobed shape, attr. Ding ware, Hebei
8. White-glazed dishes in lobed shape, attr. Dingware, Hebei
9. White-glazed foliate dish
10. White-glazed dish of lobed form
11. Pair of white-glazed square dishes with moulded peony design
12. White-glazed jar in pagoda shape
13. White-glazed spittoon
14. Jun-glazed bowl with purple splashes
15. White-glazed spittoon
16. White figure of Guangyin with red-and-green enamels
17. Soy-brown glazed bowl
18. Celadon sugarcane-sectioned washer (zheduanxi), Longquan ware, Zhejiang
19. Celadon tripod incense burner (sanzuzun), Longquan ware, Zhejiang
20. Longquan celadon lampstand
……
221. Wucai bowl with peach and flower design on both sides, attr. Jingdezhen ware, Jiangxi
222. Wucai bowl with design of two lions playing with an embroidered ball on both sides, attr. Jingdezhen ware, Jiangxi
223. Wucai dish with four blossoms outside, lingzhi immortal fungus and a mark “shou (longevity)” inside, attr.        Jingdezhen ware, Jiangxi
224. Wucai bowl with double lions and a ball inside and two qilin and two horses outside, a mark “fugui jiaqi (fine vessel        for the wealthy and noble)”
225. Doucai (joined colors) censer with dragon design, attr. Jingdezhen ware, Jiangxi
226. Bule-and-white stem up with design of four sea creatures in waves, Chenghua mark
227. Wucai ewer with chicken head spout and mouse handle, attr. Jingdezhen ware, Jiangxi
228. Peacock-blue glazed square saucer
229. Celadon bowl with impressed story scenes about Confucius, Han Xin, Li Bai and Zhenzi, Longquan ware, Zhejiang
230. Longquan celadon foliate dish with incised design
231. Longquan celadon foliate dish with incised design
232. Peacock-blue glazed dish with incised design
233. Blue-and-white cup with a blue mark inside and two auspicious animals outside, attr. Jingdezhen ware, Jiangxi
234. Meiping with aubergine-purple (qiepizi) glaze and white plum design
235. Blue-and-white dish with dragon and sea waves inside and two groups of plant designs outside
236. Blue-and-white dish with orchid inside, two groups of plant designs outside, and a symbol mark in the base, attr.        Jingdezhen ware, Jiangxi
237. Wucai dish with fish and waterweed design, a symbol mark in the base, attr. Jingdezhen ware, Jiangxi
238. Bowl with tiger-fur sancai glaze and a square symbol mark in the base, attr. Jingdezhen ware, Jiangxi
239. Blue-and-white bowl with boating design associated with the Red Cliff by Su Dongpo, a mark “Taosheng xuan li        (Made by the Taosheng Studio)” in the base, attr. Jingdezhen ware, Jiangxi
240. Bowl with painting of fish in the centre and on side, a mark “Fenglai xuanzhi (Made by the Fenglai Studio)” in the        base, attr. Jingdezhen ware, Jiangxi

It is reported that this new type of ceramic solar panels than the traditional low-cost polycrystalline silicon solar energy more than 60% does not produce any waste pollutants, especially long service life; and profit is the traditional architectural ceramics by several times.

It is understood that China and Thailand in emerging solar ceramic tiles, was Kung urged materials in the Museum of Shanghai World Expo is the Expo Hall will be the only charge material items.

Jingdezhen Ceramics Museum remains the most renowned cultural tourist attraction in the city. 

Opening in 1954, the Jingdezhen Ceramics Museum became the first institution of its kind in China and today it remains perhaps the most renowned cultural tourist attraction in Jingdezhen, a city known as the Capital of Porcelain.

The museum houses a great variety of historic pottery and porcelain exhibits. Most pieces were fired in governmental kilns during the Ming and Qing dynasties (1368-1911). Also featured are artworks from the Republic of China period (1912-1949) and masterpieces produced by renowned ceramists of modern times. The museum has become a window to a cultured past spanning 1,000 years of Jingdezhen’s ceramic civilization.

The collection includes rare porcelain wares from the Song (960-1276), Yuan (1271-1368), Ming (1368-1644), and Qing (1644-1911) dynasties, many of which are considered national treasures. And the exhibit surpasses all other museums in its holding of ceramic masterpieces created in the past 100 years.

The total collection is comprised of more than 13 categories and 250 subcategories of ceramics, spanning more than 2,000 shapes and more than 10,000 patterns.

Housed here are 378 pieces that have won international, national, or ministerial gold and silver prizes with four having won the National Prize for New Product Development. Exhibits also include many porcelain wares that were presented as state gifts in times past, as well as noted porcelain wares from Germany, Britain, Japan, South Korea and the United States.

For decades the museum has cultivated talented artisans of the ceramic craft. Today there are four: Ning Qinzheng, vice curator of the museum and a master of art and craft in Jiangxi Province; Cao Ganyuan, academic supervisor of the museum and chairman of the Jingdezhen Calligraphers’ Association; Chen Jun, curator assistant of the museum and a senior specialist in art and craft; and Sun Lixin, a senior specialist in arts and crafts born into a family of ceramists and now acting as director of the Jingdezhen Wenbo Art Exchange Center. Many of their pieces have garnered domestic and international awards and are popular among collectors both in China and overseas.

Winning wide praise both home and abroad, in recent years cultural relics and artworks from the Jingdezhen Ceramics Museum have appeared at many exhibitions in France, Japan, Macao and Hong Kong. The year 2004 marked the millennium anniversary of Jingdezhen and in 2003, the Chinese Culture Center set up in Paris by the Ministry of Culture of China held “Burning Brilliance”¡ªThe Exhibition of Ancient Porcelain Masterpieces of Jingdezhen. French President Jacques Chirac personally wrote to the center and visited the exhibition. “As the essence of Chinese culture, porcelain spreads the fame of Chinese culture around the world, especially in Europe,” he said.

The ceramic exhibition and other featured mediums reflecting Chinese heritage at the Chinese Culture Year in France proved a strong draw for the French public. The exhibition, with only 60 pieces displayed, attracted more than 10,000 visitors and all exhibits were heavily attended.

Jingdezhen’s porcelain artworks have generated interest and participation within the international culture of ceramics. For instance, the ceramic industry of France has developed a close relationship with that of Jingdezhen.

From the Ming Dynasty to the middle Qing Dynasty, a large quantity of porcelain wares made in Japan were modeled after those made of Jingdezhen, which had already been widely traded and collected across the globe. Since the Ming Dynasty, countless Jingdezhen porcelains were transported by Portuguese traders to Europe via Macao. Over the past 100 years in Hong Kong, an international metropolis known by some as the Capital of Art Collections, there have emerged a number of collectors who revel in Jingdezhen porcelains.

The French newspaper, Le Figaro, in praise of the Exhibition of Ancient Porcelain Masterpieces of Jingdezhen, described its cultural wares as: “Resplendent white gold, beautiful Chinese porcelain.” These are the particular jewels of the Jingdezhen Ceramics Museum, a palace of art depicting a city’s 1,000-year-old ceramic civilization.

Background information:

A world-famous brand, since the 15th Century Jingdezhen has enjoyed great reputation within the ceramic industry, whereas genuine porcelain was not produced in Europe until the 18th Century. Under the influence of Jingdezhen ceramics, the industry began to truly develop in Europe in the 19th Century. From the late Ming Dynasty through the early Qing Dynasty, chinaware – with Jingdezhen as synonym – sold well in Europe and around the world. Known in some regions as white gold, porcelain wares were popular with families of both aristocratic and common background. Noblemen in Europe and Japan were proud of their collections of Jingdezhen ceramics and shipping companies gained great wealth by trading Jingdezhen ceramics. (Thus the derivation of the label China in Europe.)

“Jingdezhen is a very spiritual place, a lot of people would like pottery hereմմ’Aura’.” Miss Zheng Yi is a pleasant person, born optimist, even the talk is the exultant. Lotte Jingdezhen pottery before the creation of social organizations, she has been abroad many times to view the exchange of potters, but every time there regret – do not have a specialized Jingdezhen potters for foreign exchange and creative place. Of course, this place can also provide related services such as catering accommodation, which needs the creation and exchange continue for some time. Are based on this, May 1, 2005, Ms Cheng choose to establish a sculpture of Jingdezhen porcelain pottery Lotte agency, to assume the foreign exchange and creative potters base functions. “Chose porcelain sculpture, is very optimistic about where the ceramic culture.” Zheng Yi said.

Zheng president of the success of a number of foreign countries have come here especially for potters.

Interview the same day, journalists in Lotte’s foreign pottery art room to see the five foreign potters. University of Hawaii from the United States teachers Miss Chen Songli accepted an interview with reporters. This reporter has learned that this is the second time Ms Chan came to Jingdezhen, and is prepared to stay here for six weeks. Back to the United States, she is also prepared to come with their own students.

Last year, Ms. Chen first came to Jingdezhen, the city felt the strong atmosphere of ceramics, “but this kind of environment in other parts of the world’s unparalleled.” She also cited examples reporters, “In the United States, it is very difficult to buy ceramic glaze-related, but in Jingdezhen, these are not problems.” To go back after listening to a lot of students in her introduction, it is thought of Jingdezhen to. Conversation, she opened a small paper, showed reporters not long ago to do her a pair of small porcelain shoes. She said that she take it back to the United States, sent his best friend. Mountains can be seen here, she is very happy.

Lotte social event of pottery not only in foreign countries, “Phoenix” Jingdezhen as its impact on the expansion of the local community, gradually, more and more young people to gather together here. Zheng Yi found that many of these young people, such as ceramic College students in institutions of higher learning, they create works Lotte Lotte to sell on. The reporters found that these young people do not have a fixed work patterns, more like a whim, but very popular with visitors welcome.

The development of the past few years, today’s Jingdezhen pottery Lotte agency has air-conditioned studios, pilot plant, galleries, shops, cafes and artists homes, canteens and so on. Here is not only the artists and young students to exchange and creation of the stage, more like a big family of potters. “I would be happy to Lotte as a pilot plant, more specifically, a ceramic factory creative experiment.” Zheng Yi Tao this to their own social positioning. The people here are willing to put it than for the 798 Art District in Jingdezhen.

Lotte Tao agency has its own “reserve program”, for example, are held every Friday evening in a lecture ceramics. For instance, every Saturday or during holidays or Porcelain Fair, Lotte Jingdezhen pottery agency would provide the college students a venue to enable them to put a stand to sell his pottery works, a fine-sounding name on “creative fair” .

June 28, this reporter went to “creative fair” interview. Liu is on the third time to give them the platform Lotte was very pleased, she said: “Only in Jingdezhen, in Lotte have such an environment. In here that can not only make the cost of living is more important is access to practical experience and recognition of their work. ”

Jingdezhen Ceramic History of the development spoke of the prospects for the creative industries with the confidence of Zheng Yi. In her view, not lack of Jingdezhen ceramics culture, and not missing very edge industry in Jingdezhen, Jingdezhen current lack of creativity is, “Of course, such shortcomings are not unique in Jingdezhen, China’s ceramic industry is the existence of this phenomenon. It is gratifying that the local government of Jingdezhen is attention to this matter, there are a lot of people doing this thing. ” Zheng Yi Jingdezhen were each to want to leave, she said, whether it is in Hong Kong or in Beijing and Shanghai, ceramic art is not very strong atmosphere, with which it is difficult to carry out related work, but not the same as in Jingdezhen, surrounded by so ceramics who are expert, good atmosphere, and easily communicate.

Lotte Tao agency is an “art space” is also a business, the Tao of Lotte’s the next stage of development, Zheng Yi has his own ideas. She said that she is an artist, but also the Tao Lotte’s operators, as a business, the economic benefits that must be considered, otherwise, it would be difficult to survive and develop. Lotte Tao On the main objective of the current agency, said she was very calm and the word Hill – to make money. She played a very vivid metaphor, founder of Lotte Tao agency, just as in the revised Highway, a few years ago the task is to repair, and now the road has been repaired, it is necessary to start charging fees, it is to the benefits.

Today, Lotte Tao agency also set a porcelain sculpture of two large plants, to expand the exchange of artists and venues. Zheng Yi very confidently told reporters that she read the relevant leaders in the planning and operation of these notions, have expressed sincere appreciation for the mountain. “I want to Lotte Tao Jingdezhen Ceramic Society into a model of cultural and creative industries so that more people involved so that more of the ‘ceramic people’ to see the creative industries’ money ‘King.” Zheng Yi still enraptured when they talk.

Jingdezhen porcelain is both Chinese and foreign well-known, the Millennium kiln fire porcelain left a superb artistry, creating a large number of porcelain with a rich tradition of ceramic production skills of workers, “Jingdezhen porcelain hand skills” and other projects have been included in the respective countries, provincial, municipal list of intangible cultural heritage protection. Provincial and municipal leadership attaches great importance to the traditional porcelain artists old and traditional art heritage protection work, in September last year, Jingdezhen Municipal People’s Government issued the “traditional porcelain in Jingdezhen City heritage skills were identified with the representation of Interim Measures for the Administration”, through established procedures to assess the city have had a tradition of the first batch of 10 porcelain arts veteran representative to promote the city of ceramics of the Intangible Cultural Heritage Protection of heritage, and achieved gratifying results.

Expo area porcelain history of the town to retain the traditional kilns and workshops, bringing together a large number of old porcelain artist, is the largest city of the 4A level scenic areas, hand-built porcelain heritage skills base and the protection of traditional Jingdezhen porcelain representation skills Demo Center inheritance were fully explore the use of cultural resources, protection of cultural heritage in our city to promote a strong tradition of work initiatives. To the “base” and “Center” building, is of great significance and far-reaching consequences. The town of 300 tam kiln is a city the size of firewood kiln remains only to protect the kiln room building will be the furnace, “such as repair of old old”, while maintaining the protection of productive ways to protect the kiln built heritage, traditional skills kiln , and its practical significance and far-reaching impact of the ceramic to porcelain heritage cultural heritage and continuously push forward the work.