During the holiday season, museum visits are always on my itinerary.
While crowds pack popular scenic spots, I chose a quieter way to celebrate the break: spending a full day immersed in Nanjing Museum, admiring ancient porcelain.
To be honest, after years working in ceramic glaze development, I've developed a professional "occupational habit" whenever I visit exhibitions. Most visitors focus on the shape and beauty of these vessels, while my eyes are drawn straight to technical details:
Why is this glaze so silky and mellow?
How was this crackle effect achieved in firing?
What raw materials went into the formula for this green glaze?
Today, I'd like to walk you through these treasured pieces I fell for at Nanjing Museum, from the unique perspective of a glaze maker.
(Note: All photos in this post are taken on-site by myself, shot directly on a mobile phone with no filters applied.)
The shade of green that stole my heart at first sight
Southern Song Dynasty · Longquan Celadon Double-Eared Vase
It is fully covered in celadon glaze, soft, subtle and elegant, with naturally formed crackles.
The moment I laid eyes on it, I was captivated by this gentle celadon tone. Natural crackle patterns spread all over the surface - what we insiders affectionately call the "crackle of peace". The glaze tone is restrained and calm, embodying the Song literati's pursuit of celadon beauty and minimalist aesthetics. This glaze may look plain at first glance, yet it holds a quiet charm that keeps you gazing.
Song Dynasty · Yaozhou Celadon Vase with Carved Coiled Dragon
Yaozhou kiln carving is described in four industry words: sharp as a blade.
The coiled dragon was not painted, but deeply carved into the body. Crisp, forceful lines create strong three-dimensionality.
Paired with this olive celadon glaze, the dragon seems ready to leap off the vessel. The craftsmanship took my breath away. It brought back memories of my university sculpture elective; I almost wished I could turn back time and experience carving again.
Song Dynasty · Yaozhou Celadon Long-Neck Vase with Carved Decoration
Another fine Yaozhou piece, yet in a delicate, graceful style. It features a slender neck and rounded belly, covered in finely flowing carved motifs. The glaze is lustrous. Under museum lighting, its smooth glow resembles the flesh of a freshly peeled lychee.
When appreciating antique wares like this, imagine the moment it came out of the kiln: glaze flowing freely at 1300°C, alive with energy - a vitality you can almost feel through the glass display.
Multicoloured monochrome glazes
Tang Dynasty · Green-Glazed High-Stem Cup
It boasts a striking emerald green glaze, bright and glossy, with an elegant upright form.
Tang aesthetics are bold and magnificent. This green glaze is vivid, saturated and eye-catching. Green glazes were rare luxuries back in the Tang dynasty. Held in hand, this cup feels made for poetic toasts under the moon.
Tang Dynasty · Changsha Kiln Celadon Ewer with Brown Underglaze Splashes and Applied Figurines
This ewer carries exotic flair. Applied figurines with distinct high-bridged noses adorn its belly, showing strong foreign cultural influences. The naturally flowing brown underglaze splashes look like sunset haze spread across the glaze surface.
Changsha kiln porcelain was a top export commodity in Tang China, shipped far overseas. This piece stands as tangible evidence of the ancient Maritime Silk Road. Porcelain has long been a universal language connecting civilizations.
Patterns full of stories
Song Dynasty · Cizhou Kiln White Ground Black Painted Meiping Vase
Cizhou ware feels warm and down-to-earth. The sharp contrast of black painting on a white slip background creates bold, free floral designs, far less restrained than official imperial wares.
It is like a folk artwork filled with everyday joy. The classic meiping shape, matched with this bold black-and-white brushwork, would make a stunning centrepiece in any modern home.
Song Dynasty · Cizhou Kiln Porcelain Pillow, White Ground Black Painting, with Panel Design of Boys Holding Lotus
Look at the adorable boys holding lotus blooms on this pillow. The motif symbolizes "continuous blessing and prosperous descendants".
These porcelain pillows were ancient cooling bedding for summer use. Though hard, they were believed to soothe the mind. The scrolling floral patterns along the sides are densely painted yet neatly balanced - true mastery of the craftsman.
Tang Dynasty · Tri-Colour Double Fish Vase (Sancai)
One of Nanjing Museum's star exhibits. Two fish linked head-to-tail, symbolizing surplus and good fortune. Yellow, green and white glazes flow and blend into mottled radiant hues. Though originally a burial artifact, it carries ancient people's love for life and longing for happiness.
Sancai is low-temperature glazed pottery, different from the high-temperature ceramic glazes we formulate today, yet its shimmering blended colours are endlessly delightful.
Western Jin Dynasty · Celadon Ram Zun Wine Vessel
A prone ram with its head raised, full rounded lines and lovely gentle form. In ancient Chinese culture, the ram symbolizes auspiciousness. It served both as a wine vessel and decorative ornament. Its celadon glaze remains lustrous even after more than a thousand years.
You can feel how precisely the craftsman captured the creature's gentle expression.
Western Jin Dynasty · Celadon Ram Zun Wine Vessel
A prone ram with its head raised, full rounded lines and lovely gentle form. In ancient Chinese culture, the ram symbolizes auspiciousness. It served both as a wine vessel and decorative ornament. Its celadon glaze remains lustrous even after more than a thousand years.
You can feel how precisely the craftsman captured the creature's gentle expression.
The grand finale - the masterpiece
Qing Qianlong Period · Revolving Cover Vase: Blue Glaze with Gilded Decoration, Interior Famille Rose "Hunting Scene"
And here it is, the absolute highlight of this visit - a breathtaking technical masterpiece made for Emperor Qianlong.
It features a jewel-blue glaze base with gilded scrolling floral patterns, radiating imperial luxury. Its magic lies inside: the outer vase body can rotate. Through openwork cutouts, you view an inner chamber painted with the Emperor's hunting scene. As you turn the outer shell, the painting unfolds like an early animation reel.
At that time, this was cutting-edge craftsmanship. Only the imperial court could support such an extravagant, ingenious design. It marks the peak of Qing-dynasty porcelain technology, a testament to a prosperous age.
From the simple, rugged charm of Western Jin celadon, to the bold splendour of Tang wares, the refined elegance of Song porcelain, and the opulent craftsmanship of the Qing dynasty…
After this whole tour, one thought stays with me: what we create as glaze formulators is not merely industrial material. We carry forward an ancient aesthetic tradition and preserve records of beauty.
Every ceramic piece is a "glaze report" frozen in time. Quietly displayed, they tell us the firing temperatures, glaze formulas and aesthetic preferences of their eras.
The longer I work with glazes, the more I see ourselves as modern colour tuners
I hope one day, glazes we develop will also sit in museums centuries from now, making future visitors sigh:
"What a beautifully silky glaze."
