Jingdezhen Teaware

This Gaiwan is made in the style of the Yuan dynasty blue and white porcelain, completely handmade and hand painted. The pattern of “一鹭莲科” or “一路连科” in Chinese culture is derived from the beautiful combination of the heron and lotus leaves. As “鹭” (heron) and “路” (path/road) have the same pronunciation, and “莲” (lotus) sounds like “连” (successive/continuous), the name “一路连科” is a play on words that conveys the beautiful meaning of the pattern. In ancient times, successive successful candidates in the imperial examinations were called “连科,” and “一路连科” is a good wish for students to have a smooth career path and achieve success step by step.

For Yuan blue and white porcelain refers to the blue and white porcelain produced during the Yuan dynasty (1271-1368) in China. The Yuan dynasty was an important period in the history of Chinese porcelain and one of the peaks of Chinese porcelain art. As one of the representatives of that era, Yuan blue and white porcelain exhibited unique artistic styles and technical levels. The characteristic of Yuan blue and white is the use of cobalt blue pigment for painting, which is made of cobalt oxide. After firing, the colour is bright and rich, with extremely high decorative effect. Yuan blue and white porcelain has various shapes, thick and heavy, concise, and fluent lines, and stable and solemn shapes, all made exquisitely.

The evolution of Yuan blue and white is based on the foundation of Tang and Song celadon. Firstly, the glaze colour was improved and innovated. Unique white glaze, eggshell glaze and blue-white glaze were invented to make the glaze crystal clear. Cobalt pigment was imported for glaze colouring. Or using the pigment made from domestic materials.

The formation of tin spots on Yuan blue and white 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.

While this Lian Sheng Yuan Xi Gaiwan retains the bold and rich coloration of classic Yuan blue and white porcelain, its tin-spot effect is relatively subtle, giving it a more delicate and refined appearance. The overall aesthetic is graceful and elegant, embodying a scholarly charm. Compared to the traditionally bold and unrestrained Yuan blue and white style, this piece leans towards a more understated and sophisticated aesthetic, blending classic heritage with a softer, more literary elegance. It brings a sense of warmth and refinement to any tea session, offering a harmonious balance between history and artistry.

This Yuan-style blue and white fish-and-waterweed gaiwan is crafted using traditional Jingdezhen underglaze blue techniques. The body is sturdy, with a well-balanced form that exudes classical elegance. On the outer surface, vivid hand-painted carp swim gracefully among waving aquatic plants. The composition is lively and natural—the fish scales are delicately rendered, and the water plants sway in dynamic rhythm, revealing the artist’s refined brushwork and artistic finesse.

What sets this piece apart lies within: the interior of the gaiwan features an intricately incised design of fish and weeds, subtly hidden beneath the glaze. As light moves across the surface, the design gradually emerges like a submerged relief, as if the fish are gliding beneath the tea, adding a poetic and graceful charm to the tea experience.

The special pattern of this teacup is fish and seaweed. Since ancient times, fish and seaweed motifs have been traditional decorative patterns in ceramics, representing auspiciousness and carrying rich cultural and aesthetic meanings. The homophonic association between fish and the Chinese word for “surplus” (yu) makes fish a symbol of abundance and wealth. Fish motifs are often used to convey the meaning of “abundance and surplus,” “prosperity year after year” (as the pronunciation of fish is similar to that of “surplus” in Chinese), and “auspicious celebrations and abundance.” The fish and seaweed motifs typically feature fish as the central element, with additional decorations such as water plants, forming a variety of decorative patterns. The depiction of four swimming fish in the artwork symbolizes the concept of “surplus in all four seasons,” representing a year-round surplus, which carries a highly positive connotation. Such motifs are not only favoured by the royal court but also beloved by people from all walks of life as auspicious decorations. The flexible composition, auspicious symbolism, and abundant variations of fish and seaweed motifs have made them timeless classics throughout different eras.

For Yuan blue and white porcelain refers to the blue and white porcelain produced during the Yuan dynasty (1271-1368) in China. The Yuan dynasty was an important period in the history of Chinese porcelain and one of the peaks of Chinese porcelain art. As one of the representatives of that era, Yuan blue and white porcelain exhibited unique artistic styles and technical levels. The characteristic of Yuan blue and white is the use of cobalt blue pigment for painting, which is made of cobalt oxide. After firing, the colour is bright and rich, with extremely high decorative effect. Yuan blue and white porcelain has various shapes, thick and heavy, concise, and fluent lines, and stable and solemn shapes, all made exquisitely.

The evolution of Yuan blue and white is based on the foundation of Tang and Song celadon. Firstly, the glaze colour was improved and innovated. Unique white glaze, eggshell glaze and blue-white glaze were invented to make the glaze crystal clear. Cobalt pigment was imported for glaze colouring. Or using the pigment made from domestic materials.

The formation of tin spots on Yuan blue and white 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 gaiwan has a thick body and uses the Su Ma Li Qing glaze material (a kind of blue pigment), with a heavy sense of tin spots, revealing a unique charm of the past era. The entire production process is completed by hand, and every detail has been carefully designed and polished, giving this teacup a unique artistic charm. The blue and white fish & seaweed pattern is vivid, showcasing ancient cultural and aesthetic values, allowing people to immerse themselves in a beautiful artistic atmosphere while enjoying their tea.

This Gaiwan is meticulously handcrafted using the Red Underglaze technique, a process known for its exceptional difficulty and low yield. Red Underglaze uses copper as a colorant, painted directly onto the white porcelain body in intricate patterns before being coated with a layer of glaze. During high-temperature reduction firing, the copper produces a striking red hue, giving this technique its name. The vibrant, rich red contrasts beautifully with the pure white porcelain, highlighting the unique texture and elegance of Red Underglaze craftsmanship.

The Gaiwan’s design features trailing lotus motifs, a classic Chinese decorative theme. Traditionally, the trailing lotus, known as the “Vine of Longevity” for its interwoven and continuous blooms, symbolizes prosperity and endless vitality. In Confucian culture, the lotus is a representation of truth, goodness, and beauty, as well as a sacred emblem in Buddhism. The phonetic similarity between “lotus” and “continuity” in Chinese further conveys a wish for enduring blessings and harmonious emotions. As an enduring element of traditional Chinese design, the trailing lotus combines cultural depth with artistic beauty, embodying purity, elegance, and timeless sophistication.

The Gaiwan is perfectly proportioned, featuring a rounded and full lid knob and a lip designed for a comfortable grip. The saucer base is adorned with traditional geometric patterns, adding a touch of classical charm.

This Red Underglaze Gaiwan is a rare blend of artistry and practicality. The precious Red Underglaze technique bridges ancient craftsmanship with modern aesthetics, creating a masterpiece where the deep, fiery red seems to dance like flames upon the pristine white porcelain. It radiates an aura of elegance and refinement, making it a truly exceptional piece.