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This hexagonal Gaiwan presents smooth lines at every corner, displaying an elegant shape. It is glazed with a warm and soft apricot white colour, making the entire Gaiwan warm and soft. The glazed surface is as smooth as silk, tempting people to touch its polished surface. The overall shape of the Gaiwan is simple yet elegant, making people want to taste a warm cup of tea and enjoy a peaceful moment.
This Ercai Gaiwan is handcrafted using the technique of gold painting, Lang Hong colouring and enamel glazed paint. The pattern on its painting is Dunhuang-style, with vibrant and luxurious colours, exuding a sense of luxury and elegance.
Gold painting, one of the decorative techniques, involves applying gold powder (gold dust) or bright gold (gold solution) on the porcelain surface to create intricate patterns or to complement other decorations such as borders or a golden background. Afterwards, the Gaiwan is fired at a low temperature to achieve the final finish. The lid, rim, and base of this Ercai Gaiwan are all embellished with intricate gold outlining craftsmanship.
The patterns on this Gaiwan depict Dunhuang-style designs, layered and intricate, displaying a rich array of colours. Among them, the lotus pattern is the most used decorative motif in Dunhuang art. From the Northern Liang to the Yuan Dynasty, lotus flowers can be found in every cave of the Mogao Grottoes. In Buddhism, the lotus symbolizes purity and enlightenment. It is believed that one’s soul can attain rebirth through the lotus, leading to the blissful Western Pure Land. Within the Mogao Grottoes, lotus flowers adorn the background, embellishing figures of bodhisattvas and celestial beings, embodying the sacred and immaculate nature of Buddhas and bodhisattvas. Hence, the lotus is the quintessential flower representing Buddhism. Apart from the lotus, another significant motif is the honeysuckle, also known as Jin Hua (golden-silver flower). It is an important decorative symbol in Dunhuang art, introduced alongside Buddhist art in China as a decorative floral theme. The rise of honeysuckle patterns in China occurred nearly simultaneously with the spread of Buddhism. Its extensive use in Buddhist decorations during the Northern Dynasties influenced secular ornamentation at that time. Honeysuckle blooms during summer, transitioning from white to yellow after budding, shedding old leaves in late autumn, and promptly producing new leaves. It endures even in the harshest winter conditions, quietly thriving in the wild with minimal requirements of water and soil. As a result, the honeysuckle pattern found abundant application in Buddhist-related decorations, drawing from its persistent growth characteristics. Furthermore, the motif of the “Baoxiang Flower,” also known as Baoxianhua or Baolianhua, is another traditional auspicious pattern in Dunhuang decorations. It is one of the auspicious Three Treasures and was prevalent during China’s Sui and Tang Dynasties. The concept of “Baoxiang” originates from Buddhism, where it refers to a respectful term for Buddhist images. The Baoxiang Flower represents an idealized form of purity, grace, and beauty.
In addition to these captivating decorative patterns, the craftsmanship of Lang Hong ceramics is also deserving of praise. Firstly, the full name of Lang Hong is “Langyao Red,” also known as “Gem Red” or “Ox Blood Red.” It is one of the most vibrant colours in traditional Chinese precious copper red glazes. Lang Hong glaze is achieved by using copper as a colouring agent and firing it at a high temperature of 1300°C. Since copper elements easily evaporate at high temperatures, the range of colour expression is limited. The firing process demands strict control over the atmosphere and temperature, and the outcome is greatly affected by external factors, making it a highly challenging process to successfully produce Lang Hong ceramics. Lang Hong glaze boasts a smooth and translucent surface, resembling glass, with crackled patterns resembling cow hair texture. The glaze exhibits a deep and vivid colour, resembling freshly congealed ox blood with its brilliant crimson hue, symbolizing auspiciousness, and wealth. Revered as a “treasure among a thousand kilns,” the red-glazed porcelain of Lang Hong showcases a distinctive ethnic style, shining like a dazzling gem in the history of world ceramics. The colour red, known for its auspiciousness and affluence, has elevated Lang Hong ceramics to a radiant and remarkable masterpiece in the realm of ceramic art.
Enamel, on the other hand, is a decorative technique that involves transplanting the cloisonné enamel method onto a porcelain body as an overglaze colour decoration. Enamel decoration on porcelain, known as “Fàlángcǎi” in Chinese, entails painting colourful patterns on the porcelain surface and then firing it at high temperatures to fuse the colours with the porcelain, achieving a durable and splendid design. These patterns often feature exquisite themes such as flowers, birds, figures, and landscapes, reflecting the essence of traditional Chinese culture and art. The process of creating enamel decorations is extremely intricate and complex, requiring skilled and experienced craftsmen. First, the porcelain prototype is made, and then special mineral pigments are used to paint patterns on its surface. Once the painting is completed, a series of firing processes follow, during which the temperature and timing for both the porcelain and the enamel colours are crucial factors. Improper temperature or timing can result in cracks in the porcelain or unstable colours. Enamel decoration is considered a treasure in traditional Chinese craftsmanship, representing the wisdom and skills of ancient Chinese artisans.
This Gaiwan showcases exquisite Lang Hong craftsmanship, with intricate and delicate Dunhuang patterns that carry profound symbolism.
This Sancai Gaiwan is handcrafted using the technique of gold painting, Lang Hong colouring and enamel glazed paint. The pattern on its painting is Dunhuang-style, with vibrant and luxurious colours, exuding a sense of luxury and elegance.
Gold painting, one of the decorative techniques, involves applying gold powder (gold dust) or bright gold (gold solution) on the porcelain surface to create intricate patterns or to complement other decorations as borders or a golden background. Afterwards, the Gaiwan is fired at a low temperature to achieve the final finish. The gold painting craftsmanship is applied in multiple areas of this Sancai Gaiwan.
The patterns on this Gaiwan depict Dunhuang-style designs, layered and intricate, displaying a rich array of colours. Among them, the lotus pattern is the most used decorative motif in Dunhuang art. From the Northern Liang to the Yuan Dynasty, lotus flowers can be found in every cave of the Mogao Grottoes. In Buddhism, the lotus symbolizes purity and enlightenment. It is believed that one’s soul can attain rebirth through the lotus, leading to the blissful Western Pure Land. Within the Mogao Grottoes, lotus flowers adorn the background, embellishing figures of bodhisattvas and celestial beings, embodying the sacred and immaculate nature of Buddhas and bodhisattvas. Hence, the lotus is the quintessential flower representing Buddhism. Apart from the lotus, another significant motif is the honeysuckle, also known as Jin Hua (golden-silver flower). It is an important decorative symbol in Dunhuang art, introduced alongside Buddhist art in China as a decorative floral theme. The rise of honeysuckle patterns in China occurred nearly simultaneously with the spread of Buddhism. Its extensive use in Buddhist decorations during the Northern Dynasties influenced secular ornamentation at that time. Honeysuckle blooms during summer, transitioning from white to yellow after budding, shedding old leaves in late autumn, and promptly producing new leaves. It endures even in the harshest winter conditions, quietly thriving in the wild with minimal requirements of water and soil. As a result, the honeysuckle pattern found abundant application in Buddhist-related decorations, drawing from its persistent growth characteristics. Furthermore, the motif of the “Baoxiang Flower,” also known as Baoxianhua or Baolianhua, is another traditional auspicious pattern in Dunhuang decorations. It is one of the auspicious Three Treasures and was prevalent during China’s Sui and Tang Dynasties. The concept of “Baoxiang” originates from Buddhism, where it refers to a respectful term for Buddhist images. The Baoxiang Flower represents an idealized form of purity, grace, and beauty.
In addition to these captivating decorative patterns, the craftsmanship of Lang Hong ceramics is also deserving of praise. Firstly, the full name of Lang Hong is “Langyao Red,” also known as “Gem Red” or “Ox Blood Red.” It is one of the most vibrant colours in traditional Chinese precious copper red glazes. Lang Hong glaze is achieved by using copper as a colouring agent and firing it at a high temperature of 1300°C. Since copper elements easily evaporate at high temperatures, the range of colour expression is limited. The firing process demands strict control over the atmosphere and temperature, and the outcome is greatly affected by external factors, making it a highly challenging process to successfully produce Lang Hong ceramics. Lang Hong glaze boasts a smooth and translucent surface, resembling glass, with crackled patterns resembling cow hair texture. The glaze exhibits a deep and vivid colour, resembling freshly congealed ox blood with its brilliant crimson hue, symbolizing auspiciousness, and wealth. Revered as a “treasure among a thousand kilns,” the red-glazed porcelain of Lang Hong showcases a distinctive ethnic style, shining like a dazzling gem in the history of world ceramics. The colour red, known for its auspiciousness and affluence, has elevated Lang Hong ceramics to a radiant and remarkable masterpiece in the realm of ceramic art.
Enamel, on the other hand, is a decorative technique that involves transplanting the cloisonné enamel method onto a porcelain body as an overglaze colour decoration. Enamel decoration on porcelain, known as “Fàlángcǎi” in Chinese, entails painting colourful patterns on the porcelain surface and then firing it at high temperatures to fuse the colours with the porcelain, achieving a durable and splendid design. These patterns often feature exquisite themes such as flowers, birds, figures, and landscapes, reflecting the essence of traditional Chinese culture and art. The process of creating enamel decorations is extremely intricate and complex, requiring skilled and experienced craftsmen. First, the porcelain prototype is made, and then special mineral pigments are used to paint patterns on its surface. Once the painting is completed, a series of firing processes follow, during which the temperature and timing for both the porcelain and the enamel colours are crucial factors. Improper temperature or timing can result in cracks in the porcelain or unstable colours. Enamel decoration is considered a treasure in traditional Chinese craftsmanship, representing the wisdom and skills of ancient Chinese artisans.
This Sancai Gaiwan showcases exquisite Lang Hong craftsmanship, with intricate and delicate Dunhuang patterns that carry profound symbolism.
The style of this super beautiful Gaiwan is Ming, using the underglaze blue technique, and entirely handcrafted and hand painted. The pattern features the classic design of intertwining lotus branches (Chanzhi Lian).
Chanzhi Lian, also known as ‘intertwining lotus branches’ or ‘Interlock Branch Lotus’, is a Chinese decorative motif with the symbolism of “flowers within flowers, blossoms within leaves.” It is also referred to as the “Wanshou Teng,” representing auspiciousness and longevity due to its continuous and interconnected structure, symbolizing the concept of “endless vitality.” In addition, in traditional Chinese Confucian culture, the lotus is seen as the embodiment of truth, goodness, and beauty, as well as a symbol of Buddhism. The pronunciation of “Lian” is similar to the word “continuous” in Chinese, further expressing the idea of continuous growth and conveying positive wishes and emotions.
As part of Chinese traditional ornamentation, Chanzhi Lian has been passed down through generations, reflecting its own beauty and cultural significance with a unique artistic charm. The lotus possesses a sacred and pure temperament, being beautiful without being ostentatious and magnificent without being vulgar. It is precisely because of this aesthetic appeal that Chanzhi Lian has become a decorative pattern applied to various aspects of life.
In addition, the beautiful tin spots on the porcelain add even more unique charm to it. The formation of tin spots is due to the high content of iron elements in local parts of the blue pigment. After reaching saturation in the high-temperature glaze solution and cooling down, the iron elements in the supersaturated part start to precipitate. If the iron content of the blue pigment is higher and the cooling rate is appropriate, tin spots are more likely to appear on the surface of the ware.
In addition to firing and materials, the formation of tin spots also involves the factor of glaze material. During the painting process, tin spots can also be formed due to the accumulation of blue pigment. Tin spots are more likely to appear on the surface of the ware at the intersections and the starting and ending points of brushstrokes. The formation of tin spots can be said to be a natural creation or an artificial decoration. This tin glazes not only add a rustic texture to the Gaiwan but also imbue it with a unique sense of history.
The delicate brushstrokes and intricate detailing of the painting on this Gaiwan create a distinct sense of aesthetic appeal. The soft and elegant shade of underglaze blue, along with a hint of faint tin glaze, gives it a graceful and ethereal beauty under the light. This Gaiwan exudes a simple yet elegant charm, reminiscent of the style of imitation Ming, making it truly captivating and irresistible.
Out of StockThis Gaiwan is light and thin, the rim of it is wide which is not easy to scald. It has a lustrous, translucent quality that gives it a unique and almost ethereal appearance.
In terms of design, white ceramic teaware is often kept simple and understated, allowing its natural beauty to shine through. Its clean lines and minimalist style can create a sense of calm and tranquillity, making it the perfect choice for those who wish to fully immerse themselves in the tea-drinking experience.
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