2006 Fiscal Year Final Research Report Summary
Research on the Reconstruction of Glazes and Firing Techniques of "Big Celadon Platters" Produced at the Longquan Kilns During the 13th and 14th Centuries
| Project/Area Number |
16401002
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| Research Category |
Grant-in-Aid for Scientific Research (B)
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| Allocation Type | Single-year Grants |
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| Section | 海外学術 |
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| Research Field |
Aesthetics/Art history
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| Research Institution | Tokyo National University of Fine Arts and Music |
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Principal Investigator |
SHIMADA Fumio Tokyo National University of Fine Arts and Music, Faculty of Fine Arts, Professor, 美術学部, 教授 (90187435)
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| Co-Investigator(Kenkyū-buntansha) |
TOYOFUKU Makoto Tokyo National University of Fine Arts and Music, Faculty of Fine Arts, Associate Professor, 美術学部, 助教授 (30227665)
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| Project Period (FY) |
2004 – 2006
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| Keywords | Ceramic Techniques / Longquan Ware Celadon / Porcelain (China) Clay / Song Dynasty Celadon / Chemical Analysis of Celadon / "Zijintu" Purple Red Clay / Dragon Kiln / Refractory Clay |
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| Research Abstract |
During the first year research was carried out on different areas : field research at the Longquan Kiln sites, study of clay bodies, chemical analysis of celadon glazes and its components. In addition, study of pieces dating from the Song, Yuan and Ming Dynasties from the National Palace Museum's collection in China, and the Idemitsu Museum of Arts in Japan was carried out. Research on the shapes of big celadon platters, their size and firing techniques took place. In addition, reproductions of designs and patterns on those pieces were completed.
The second year, the research centered on the reconstruction of big platters and glaze tests. Clay bodies and celadon glazes were prepared and tested, based on the results of those studies. Firings aimed at restoring such pieces were carried out with clay bodies and celadon glazes used nowadays at the Longquan kilns. In Japan, clays and glazes were prepared with Japanese raw materials. The glazes achieved were applied on actual pieces and fired
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During the last year, actual reconstructions of big celadon platters (Song and Yuan Dynasties) from the collection of the National Palace Museum in China and the Idemitsu Museum of Art in Japan were accomplished. The firings took place at the Tokyo National University of Fine Arts and Music, were two hundred and fifty celadon glaze compounds were tested.
Results of the research:
At the Longquan Kiln sites a total of four big platters: " Longquan Platter with Incised Flower Design" from the Song Dynasty and "Longquan Platter with Fishes in Red Clay Relief' from the Yuan Dynasty. In addition, twenty celadon incense burners were also fired.
At the Tokyo National University of Fine Arts and Music: "Celadon Bowl with Incised Design of Flowers and Fish in Biscuit Relief', "Celadon Dish with Incised Design of Auspicious Fruits" among others. In all, twenty reconstructions of different pieces were achieved. The total outcome of the research consists of forty fired reconstructions and two hundred and fifty different glaze tests, out of which three representative celadon glazes were accomplished.
According to the field research carried out at the Longquan sites in China, refractory clays used to build dragon kilns, saggers, kiln supports and kiln furniture in general were the most important material at the time. It was proved that in surrounding areas of the Longquan kilns there were five important sites, where refractory clays could be extracted. Firing of big platters during the Yuan Dynasty was possible thanks to the kiln furniture made from those materials, which lead to their worldwide diffusion.
The porcelain clays from the Longquan region can be divided into Primary and Secondary China Clays. The clay is so soft that in a dry state can be crushed to powder by hand and it is well suited for carving. The main components of this porcelain clay are silica, Kaolin and mica among others. Both, clay bodies and glazes, contained a purple clay named "Zijintu" which influenced widely the outcome of celadon colors and firings.
The raw materials were mixed after being fired at a temperature of about a 1000 C, which helped to prevent the peeling off of glazes due to the application of thick layers. The fact that this was a very effective technique that made mass production possible can be taken as new information achieved through this research. Less
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Research Products
(8 results)
