A Yuan blue and white flat ewer with phoenix-headed spout produced in Jingdezhen, Jiangxi Province Photo: Courtesy of YANG HAO

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Xinjiang, as an important corridor of the Silk Road, has long served as a bridge between Chinese civilization and the wider world. The porcelain unearthed in Xinjiang has varied in type, dating to multiple periods in Chinese history. In particular, blue and white porcelain holds a significant place in the history of Chinese ceramics for its unique artistic style and exquisite craftsmanship. A treasure of the world of ceramic art, blue and white porcelain is closely linked with the history of porcelain export in China. Originating in the Tang Dynasty, it flourished in the Yuan Dynasty, and saw widespread distribution in the Ming and Qing dynasties. By the late Yuan Dynasty, Jingdezhen in Jiangxi Province emerged as the main production center for blue and white porcelain. This porcelain was crafted using natural minerals such as cobalt oxide and kaolin. It’s pristine white background and intricate blue motifs not only achieved a high level of aesthetic beauty but also reflected the creativity of the Chinese artisans.

Findings in Xinjiang

Two representative pieces of porcelain were unearthed at the Almalik ancient city site in Huocheng County, Xinjiang: a Yuan blue and white high-foot bowl with cloud and phoenix patterns, and a Yuan blue and white flat ewer with phoenix-headed spout. The high-foot bowl, unearthed in 1976, features a bamboo-like high foot and is decorated with blue and white patterns on both the inner and outer walls. The inner wall is embellished with phoenix and peony motifs, while the outer wall bears entwined peony and lotus patterns. The flat ewer with a phoenix-headed spout, unearthed in 1998, is characterized by a small round mouth and flat round body. A phoenix-headed spout is attached to one side of the body on the upper left, while a phoenix-tailed handle (now missing) was attached to the lower right. The body is decorated with double wings on the upper part and entwined lotus and butterfly patterns on the lower part. These Yuan Dynasty blue and white porcelain pieces unearthed in Xinjiang are a testament to the extensive cultural exchange and mutual learning between civilizations along the ancient Silk Road in the Western Regions.

Natural reflection in traditional design

“Dao Operates Naturally” [the Dao operates in accordance with natural conditions of all things] is a core concept of Daoist philosophy, emphasizing alignment with natural laws and the pursuit of harmony with nature. In traditional Chinese design, this concept manifests in the respect and clever use of natural materials and forms, as well as the high appreciation and pursuit of natural beauty.

The production process of Yuan blue and white porcelain fully embodies this philosophical idea. Blue and white porcelain, a type of underglazed ceramic, is created through a meticulous process involving the use of cobalt-oxide-containing ore as a pigment to paint patterns on the porcelain body, which is then coated with a layer of transparent glaze and fired once in a high-temperature kiln. In this process, craftsmen strictly controlled the selection of raw materials, the preparation of the clay, the proportion of the glaze, and the firing temperature, striving to make the texture, color, and patterns of the porcelain reflective of the most natural and harmonious conditions.

The design of blue and white porcelain patterns often imitates elements from nature, such as flowers, birds, clouds, water, and stones. For example, the phoenix and peony motifs on the high-foot bowl, as well as the double-wing, entwined lotus, and butterfly patterns on the flat ewer are not only vivid in shape and smooth in lines, but also auspicious in meaning. They are traditionally considered full of life and natural charm. This observation and understanding of creatures in nature and the wisdom of integrating natural beauty into design are profound reflections of the “Dao Operates Naturally” philosophy in design.

The primary aim of traditional design is to address the practical needs of the user, with cultural symbolism and artistic aesthetics as secondary considerations. The form of the ewer originated from the lifestyle and customs of nomadic peoples. The design of the “slender neck and small round mouth” was intended to prevent liquid from spilling and to facilitate sealing. The flattened shape of the ewer was suited to the nomadic lifestyle of constant migration and horseback hunting, avoiding the instability of round-bodied vessels during movement. The handle design reflected a shift from nomadic life to semi-settled life. The phoenix head as the spout exemplifies the ancient artisans’ innovation in incorporating animal forms with functional elements of the vessels.

‘Inner disposition and outward grace’

Confucius proposed in The Analects: “When one’s inner disposition is in excess of his outward grace, he will look uncultured; when one’s outward grace is in excess of his inner disposition he will seem to be superficial. Only when his inner disposition and outward grace are in balance can he be a man of virtue.” This reflects the emphasis of Chinese aesthetic culture on the harmonious unity of inner disposition and outward grace. Confucius’s ideal of virtue encompasses not only moral integrity but also proper etiquette and cultural cultivation.

In traditional Chinese design, there is also a quest to blend practicality, aesthetics, culture, and art. The production of Yuan blue and white porcelain exemplifies this pursuit with its complex process, fine quality, and rich decoration. It represents the highest level of porcelain production at that time. Its color scheme embodies the concept of “simplicity,” reflecting a natural beauty in its plainness and unembellished form, as well as “elegance,” the artistic style of being refined and tasteful.

In traditional Chinese design philosophy, the craftsmanship of objects follows the principles of “Dao (law, wisdom), Fa (system, method), Shu (skills, techniques), and Qi (tools, vessels).” “Dao” represents the fundamental law of the universe. “Fa” is the specific behavioral norms that follow “Dao.” “Shu” refers to the skills and techniques to achieve “Fa,” and “Qi” is the tangible items or tools created with “Shu.” These four elements complement each other, forming a complete traditional Chinese design system. This design philosophy reflects the deep understanding and high requirements of the Chinese nation for creative activities. It not only pursues the practicality and aesthetic appeal of objects but also emphasizes their cultural connotation and inner value.

The Yuan blue and white high-foot bowl and the flat ewer unearthed in Xinjiang are treasures of Yuan Dynasty porcelain, embodying the typical characteristics of traditional Chinese design: “inner disposition and outward grace.” The high-foot bowl was made by joining clay bodies, with a hollow high foot that expands outward at the bottom. The bowl and foot are connected to form a stable structure, well-suited to daily life of the time. The spout of the flat ewer is molded to resemble a phoenix head, with the mouth and handle shaped by hand, resulting in an overall design that is beautiful, elegant, and convenient to use. The design and production of Yuan blue and white porcelain vividly reflect the philosophical thoughts of traditional Chinese design. Its “Dao” reflects the deep understanding and expression of porcelain cultural connotations. Its “Fa” reflects the adherence to meticulous porcelain-making standards. Its “Shu” reflects superb painting and porcelain-making skills. Its “Qi” is the exquisite porcelain finally presented to the world.

Traditional Chinese design expresses the profound connotations of Chinese culture through “materialized” entities. The tradition of “using objects as metaphors to express one’s aspirations or ideals” is a manifestation of the philosophical and moral concepts inherent in Chinese culture. The numerous cultural relics unearthed in Xinjiang embody these profound philosophical ideas, showcasing how diverse ethnic groups have collaboratively shaped Chinese history and culture.

Yang Hao is an associate professor from the Design College at Kashi University.

Edited by REN GUANHONG