Exhibitions

The technology of porcelain is a unique and significant invention in China's field of craftsmanship. From the first success of porcelain in the Han Dynasty to the international trade during the Tang Dynasty, porcelain has always been at the core of cultural material exchange. Its elegance and delicacy are widely appreciated both domestically and abroad. Nowadays, porcelain continues to play a crucial role in human society, transcending the category of daily necessities and entering the realm of artistic creation.

In the 1990s, Mr. Kao Ying Shih, the founder of the Enternal Group, first encountered Cena Studio of Ceramics at the Grand Hotel in Kaohsiung. He highly appreciated the refined graphics and flawless forms of the artworks, establishing an enduring connection with this brand known as the "Modern official ware." Founded by Mr. Hsu Zhi Ren in 1972, Cena Studio of Ceramics started with antique porcelain, presenting the delicate beauty of classical Chinese ceramics to the public. It played a vital role in making Yingge area , it is an important hub for artistic ceramic ware.

This exhibition is inspired by Mr. Kao's recognition of Cena Studio of Ceramics' creative philosophy, which aims to create practical and visually appealing works under the contexts of traditional craftsmanship and innovative design. Over a hundred pieces of Cena porcelain are carefully selected for the exhibition, categorized by themes such as "Blue and White," "Famille Rose," "Underglaze Red," "Wucai," showcasing a remarkable series of Cena ceramic works.

The founder Mr. Kao  has been collecting ceramics for over thirty years, with a particular focus on Ming Dynasty ceramics, which are considered superior in quality and rarity. This exhibition is especially grateful to Mr. and Mrs. Hsu Ming-hsiao, owners of Ming Dynasty Ceramics, for generously contributing from their personal collection to enrich the exhibition. With dedicated curation by the exhibition team, a selection of exquisite pieces representing the beauty of traditional ceramics is presented to delight the audience. It is hoped that visitors will gain insight into the timeless fascination with ceramic art spanning centuries through this special exhibition.

Theme 1 : Cena Ceramic Studio

In 1972, Taiwan is under the period of Chinese Culture Revival Movement, Mr. Hsu Zhi Ren visited museums and get to know more about the beauty of porcelain, and started to think about counterfeit antique porcelain, and he later founded Cena Ceramic Studio, and it was the first klin factory in Yingge area. Cena Ceramic Studio started from counterfeit antique porcelain, then gradually innovated to combine with new and old form and pattern, and within the excellent skill add new artistic element and modern design. The works are admired by business man, therefore it also known as ‘Modern Official Ware’

Cena Ceramic Studio maintains two major threads in its production—traditional craftsmanship and innovative design. In addition to the existing spirit and techniques of reproducing antique patterns, the external design of the ceramic pieces sees continuous innovation, both in the form of the vessels and the artistic paintings on the bodies of the ceramics. The shapes of the vessels are constantly evolving, and the artistic coloring of the bodies is exceptionally delicate and meticulously crafted. With a commitment to both tradition and innovation, Cena Ceramic Studio has been over several decades since its establishment, cultivated numerous ceramic craftsmen and painters. This has indirectly led to Yingge's unique ceramic art scene, making Shinano a pioneer in the creation of artistic ceramics. Due to their emphasis on preserving and passing down the cultural spirit of both tradition and innovation, Shinano's ceramic works have become symbols of Taiwan's inclusive cultural heritage.

Theme 2: Introduction of Pottery, Porcelain and Stoneware

【Pottery】

Since the Neolithic era, pottery has played an extremely important role in people's lives. It is seen in various activities such as serving, storing, cooking as containers, and even in ritualistic practices such as ceremonies or burials. Even today, the application of pottery remains quite common in daily life.

In the production of pottery, clay containing glass components (silica) is primarily molded, and after glazing, it is fired at temperatures ranging from approximately 800 to 1200 degrees Celsius. Pottery has a hard body, and its structure is looser with more pores compared to porcelain. As a result, the surface exhibits absorbent qualities, contributing to pottery's excellent insulation and heat retention. Common kitchenware items like "earthenware pots" are examples of pottery.

【Procelain】

The art of porcelain production matured during the Eastern Han Dynasty. Due to the high plasticity of porcelain clay, it became suitable for crafting vessels and other daily essentials after firing. The aesthetics of porcelain, including its shapes, colors, and decorations, contribute to its high artistic value, making it both practical and visually appealing.

The primary raw material for porcelain is porcelain clay, and its composition contains a higher proportion of silica compared to pottery. After shaping and glazing, porcelain is fired at temperatures exceeding 1200 degrees Celsius, often reaching up to 1300 degrees Celsius. The fired glaze and body of porcelain approach a glass-like state, exhibiting excellent translucency and virtually no water absorption. The body of porcelain is more robust than that of pottery, producing a clear, metallic sound when lightly tapped.

【Stoneware】

The scientific name for stoneware is "stoneware," commonly referred to as "Stone Potterr" or "Crude Pottery " in Taiwan, and in Chinese historical texts as "Stoneware"

The distinction between stoneware and porcelain lies primarily in whiteness and transparency. Stoneware is crafted by molding clay into a desired shape, followed by firing at temperatures ranging from 1200 to 1250 degrees Celsius. The body of stoneware is dense, and although its texture closely resembles porcelain after complete firing, the body lacks translucency due to the absence of high-temperature vitrification. The color of stoneware varies from light gray to black, depending on the iron content in the clay, and it retains a certain level of porosity, allowing for water absorption. Stoneware exhibits greater hardness than earthenware and is less prone to breakage than porcelain. It possesses characteristics such as acid and alkali resistance, as well as thermal stability.

Theme 3 :Celadon

Celadon Glaze is originated from China,it refers to the porcelain with blue glaze on, and it was mostly from Yue kiln and Long Chuan klin. Its color form from the glaze contains certain portion of iron oxide.Even though this kind of porcelain is refer as celadon, but it also has white, grey and blue tone, it is decided by how much the glaze is and the types of clay, composition of glazes, and firing techniques.

Chinese porcelain has a long history, with ‘official ware’ established in various dynasties. However, when it comes to celadon porcelain from official kilns, the focus is often on the Southern Song Dynasty's ‘official ware’. During this period, advancements in glaze formulation led to a breakthrough in celadon glaze colors. The glazes of the ‘official wares’ in the Southern Song Dynasty, especially those of the Longquan kilns, became renowned for their unique qualities. The glaze formulas surpassed previous tendencies toward glassy, transparent finishes with high fluidity. As a result, the celadon glazes of this era exhibited a jade-like texture, appearing more warm and lustrous visually. The popularity of celadon porcelain, particularly in the powder blue hue, soared during this time. Representative ceramics in this color were notably produced at the Longquan kilns during the Southern Song Dynasty.

Theme 4: The Pattern Qing Hua and Technique ‘Water Divided’

Blue and white porcelain, originating from China, is a type of high-temperature underglaze colored ceramic characterized by a white base and blue floral patterns. It is commonly referred to as "青花" (Qing Hua) in Chinese. While blue glaze ceramics emerged during the Tang Dynasty, blue and white porcelain began to take shape during this period. It reached its pinnacle during the Yuan Dynasty and continued to flourish in the Ming and Qing Dynasties, becoming one of the most renowned varieties in the history of Chinese ceramics.

The key to the blue color in blue and white porcelain comes from cobalt oxide. The use of cobalt can be traced back to around 2000 BCE, with historical evidence indicating its use as a blue coloring agent in Western Asia. Blue glaze ceramics were not present in China before the Tang Dynasty. It was during the Tang Dynasty, with the prosperity of the Silk Road facilitating cultural exchange, that cobalt was introduced to China and became one of the glaze materials used in ceramic firing.

The production process of blue and white porcelain involves several steps. First, the clay is molded into the desired shape, forming the "胚" (péi). Next, the blue and white patterns are painted onto the surface of the unfired piece using a brush dipped in blue and white glaze. The third step is glazing, where the entire surface of the unfired piece is covered with glaze. The final stage is firing in a kiln at temperatures above 1200 degrees Celsius. The grey-black blue and white glaze transforms into blue patterns, the clay becomes a transparent and sturdy glaze layer, and the unfired piece ultimately turns into a white and hard porcelain.

The term "分水" or "分水皴" refers to the technique of "Divided Water" in blue and white porcelain, where the brush is dipped in blue and white glaze water. The brush guides the flow of glaze water across the surface, covering it entirely. This method, seen in blue and white porcelain from the Yuan to the late Ming Dynasty, is time-consuming. To achieve color variations, varying concentrations of glaze water are prepared in advance and applied according to the desired effect. The beauty of blue and white porcelain lies not only in the simplicity of blue color but also in the rich variations, akin to the nuances found in Chinese ink wash paintings, leading to the concept of ‘ Five Colors of Blue and White’.

Theme 5 :Famille Rose

"鬥"(duo) in Southern Chinese language suggests encounters or coming together and is often used in expressions like "鬥陣" (fighting formation) or "鬥攏" (gather together). "鬥彩"(Familie Rose) refers to a ceramic production technique that involves using underglaze blue outlines and then filling various colors within those outlines, followed by a second firing. Typically, to create Familie Rose porcelain, the process begins by outlining the contours on an unfired piece. Afterward, a high-temperature firing is conducted with the application of glaze, resulting in a piece with only blue lines, resembling the ink outlines in traditional Chinese ink paintings. Subsequently, various colors are filled within these outlined areas, followed by a low-temperature firing to complete the Familie Rose piece. This technique combines elements of underglaze blue and polychrome painting, allowing the ceramic to display rich colors and intricate patterns.

Theme 6 : Five-color procelain

Five-color porcelain, also known as polychrome porcelain, began to appear in the Ming Dynasty, reflecting the diversity of pigment choices during that period. The production of five-color porcelain involves painting on fired ceramics, followed by a second low-temperature firing. Since the fired ceramics are already covered with a glaze layer, the painting is done on the glaze layer, leading to the term "釉上彩" (overglaze enamel). Due to technological limitations in the early stages, the appearance of polychrome on ancient ceramics showed little variation. In terms of color treatment, only a single flat application, such as one color for a leaf, could be used. This restriction resulted in a somewhat rigid visual effect, leading to the nickname "硬彩" (hard enamel) to describe this style.

Theme 7: Underglaze Red

"Underglaze Red" first appeared in the late Tang Dynasty, representing one of the most challenging techniques in ancient ceramic production. Similar to the process of creating blue and white porcelain, craftsmen use pigments containing copper oxide to paint on the ceramic body, then apply a layer of transparent glaze, and finally fire it at high temperatures. Therefore, "Underglaze Red" refers to the red decoration applied beneath the high-temperature glaze.

Early ceramics often had red colors added during low-temperature firings, such as iron red. The scarcity of Underglaze Red is due to the precise control required over the firing process; any slight deviation could result in the loss of prior efforts. Particularly challenging is its combination with blue and white decoration since both need to achieve their respective ideal states in a single firing. In an era without 模式rn temperature control and oxygen measuring equipment, success relied heavily on the experience of the potter, making the technique more of an art than a science, with success rates relatively low.

Due to the difficulty of production, Underglaze Red does not have a standardized color. , a richer red resembling ruby or even liver color is considered ideal. Occasionally, lighter red or even pale gray hues may appear, and these variations are still appreciated by collectors.

Theme 8 : Soft colors

"Soft Colors," emerged in the late Kangxi period, introduced to China by Jesuit missionaries during the Qing Dynasty. This innovative decorative technique, which contributed to advancements in porcelain painting, remained popular until the Yongzheng and Qianlong reigns.

The most significant difference between Famille Rose and Wucai (Five Colors) lies in Famille Rose's ability to achieve variations within a single color. This variation is attributed to the craftsman's mastery of white. Similar to Wucai, Famille Rose is an overglaze enamel technique, applied on fired ceramics and subjected to a second low-temperature firing.

During the coloring process, a layer of white, known as "glass white," is applied first. Then, the desired colors are added on top of the white layer. Subsequently, the outer layer of colors is washed with water. Depending on the extent of washing, areas washed more will appear lighter, while areas washed less will have more concentrated colors. This color variation gives the entire piece a delicate and soft appearance, creating a sharp contrast with the bold and vibrant Wucai( five colors).