The history of Chinese Ceramics dates back to 4000 years ago.

The Art is developed

during the Tang Dynasty, 618-906 A.D, and the skill reached it climax during Ming
Dynasty, 1368-1644 (Dallas 13), evolving Mings signature red-and-white and blueand-white wares (Valenstein 152). Chinese Ceramics is made mainly from clay, and
formed in different shape according to its use. Depending on the kind, decoration of
Chinese ceramics varies. Underglaze is decorated before it being glazed, putting in
the kiln afterwards. While, on-glaze decoration is achieved through applying color
after glazed, and then is put into the kiln. Nowadays, increasing number of people lie
their interests in collecting antique Chinese ceramics. On April 8, 2014, in the
Sothebys Hong Kong Fine Chinese Ceramics and Works of Art, the Meiyintang
Chicken Cup is sold for US$36.05 million, setting a World Auction Record For
Any Chinese Porcelain (sothebys.com). Indeed, people is awed the beauty of Chinese
ceramics. In fact, besides superficial beauty, Chinese ceramics carries huge amount of
cultural meaning. Symbolism, as an inseparable part in Chinese culture, is also
popular in the design of Chinese ceramics. Thus, certain knowledge about Chinese
culture is necessary for people to better appreciate Chinese ceramics. This knowledge
enables viewers to acquire multimedia literacy towards the message conveyed
through symbolism on Chinese ceramics. Particularly, Taoism, a Chinese
philosophical and religious tradition, should be considered in the study of symbolism
on Chinese ceramics. People can grasp the true beauty of Chinese ceramics through
the lens of Taoism.
Firstly of all, symbolism is prevalent in Chinese culture. Additionally, some forms of
distinguished symbolism are involved in design on Chinese ceramics. To start with,
symbolism is involved in the formation of Chinese character. Xiaoye You, an
associate professor of English and Asian Studies in the Pennsylvania State University,
when introduces Wen (), the second key term in Chinese communication, verifies
the symbolism in Chinese character. Professor You addresses that the fundamental
part of Chinese, a Chinese character, captures the essence of a natural object
graphically (10). It implies that Chinese has utilized symbolism and figurative art in
culture from the beginning of this civilization. Later on, You argues that the classic
Chinese writing and composition highly favors metaphor (43). Together with
rhetorical question and parallelism, metaphor is one of the most important rhetorical
strategies advocated by Confucius, a most renowned Chinese educator, rhetorician,
and philosopher from 500BC. This rhetorical strategy, metaphor, can be interpreted as
one form of symbolism to some extent. They both use one item to represent a
seemingly irrelevant other. Since Confucius largely encourages the use of metaphor
from 500BC, the utilization of symbolism in writing has been existed for over 2500
years in Chinese culture. It confirms a long history of symbolism exist in Chinese
culture. Moreover, C.A.S. Williams, a British Sinologist who spent most of his active
year in China, in his book A Manual of Chinese Metaphor, confirms Chinese
character and phrase act like painted picture (iv). This idea links with Yous study
of symbolic characteristic in Chinese character. Unsurprisingly, Chinese character can
be also called Chinese symbol. Furthermore, Williams adds Chinese is rich in
metaphor, which is most commonly expressed in terms of four characters (v).
Chinese calls this kind of idiomatic expression: Chengyu (). Chengyu involves
animalization and symbolism. To be specific, the experssion Lung Feng Cheng
Hisang() is interpreted by Williams as Prosperity brought by the dragon
and the phoenix from its literal meaning (47). In Chinese culture, it further implies

very good fortune symbolically, because of the mythological animal dragon and
phoenix in the term (47). Almost every term involving dragon and phoenix is a
positive term, mainly symbolizing blessing from heaven. This symbolic characteristic
of idiomatic expression is as well associated with design of Chinese ceramics. For
instance, dragon-phoenix pattern is constantly appeared on Chinese ceramics. With
certain knowledge of Chinese language, one can clearly perceive the utilization of
other idiomatic expressions in ceramics pattern design.
Detracting from text-based context, Chinese symbolism is omnipresent in terms of art.
Walter Yetts, another British Sinologist, claims, One of the most distinctive and
striking features of Chinese Art is the Symbolic character of its expression (1),
confirming the extensive use of symbolism in Chinese art. It can be further extended
to the fact that Chinese ceramics is also an art form, largely utilizing symbolism.
Besides, in China, color has symbolic meaning. The Rite of Zhou, written in the
middle of 2nd century BC, points out that color may only be used according to ones
socioeconomic class (Hu 235). This implies the symbolism behind each color
established in Chineses mind for over centuries. For instance, largely different from
the concept of yellow in western culture, as inferred from the English term Yellow
Journalism, yellow is the imperial color in China for centuries, which is exclusive for
royal family, specifically the emperor (Hu 237). Color symbolism is obviously
demonstrated through the color design of Chinese ceramics. In accordance with the
culture meaning of yellow in China, yellow chinaware is exclusive for royal family.
Overall, symbolism exists not only in basic Chinese character and Chinese writing
and composition, but exists in Chinese art as well. Obviously, symbolism is common
in Chinese culture. Through the color and pattern design on Chinese ceramics,
symbolism is highly involved in this art form. Due to the extensive use of symbolism
in Chinese ceramics, certain knowledge of Chinese culture would be necessary in
terms of appreciating the artifact.
Therefore, in order to understand the symbolism in Chinese culture systematically,
thus grasping the true beauty of Chinese ceramics through symbolism, the important
part of Chinese culture needs to be studied. Taoism, originated in China 2000 year
ago, largely affects Chinese culture. Tao () means the road in Chinese, though
commonly translated as the Way (Little 13). It is hard to explain what Tao means.
But ultimately, Tao is the structure of being that underlies the universe (Little 13).
Taoisms primary goal is achieving harmony following the structure, Tao. The
metaphysical Taoism emphasized yin and yang. Taoist believes that chaos exiting in
the universe is caused by the imbalanced forces of yin() and yang(Little 14).
Almost everything could be examined through this principle. These two forces were
used to explain the differences between genders: female is full of yin, and male is
dominated by yang. Four seasons in China are associated with yin and yang: summer
represents yang, and while winter presents yin. Therefore, yin and yang is the two
fundamental symbolisms in Taoism, extending into Chinese culture. Even now,
traditional Chinese physicians adapt this rule of two forces, believing that any illness
is resulted from internal imbalance between forces. People are told to wear thick
clothes in winter in order to reserve yang from exiling the body. Chinese culture is
largely affected with the Taoism idea of yin-yang.
Another way of Taoism affecting Chinese culture is through Taoist immortals and
gods. Primarily, no supreme being exists in Taoism. Correspondingly, Tao, the

structure, is the core of this philosophical belief. However, as Taoism no longer

merely exists as metaphysical principle of living, part of it evolved into a religion.
Different from philosophical Tao, there are gods in religious Taoism (Little 13).
Some Chinese worship these gods in temples and through rituals. These gods are
believed as the symbols that are put as recognizable face on Tao (Little 13). In
religious Taoism, these gods have practical roles like gods in Greek mythology.
However, differently, some of them start as human heroes, even animal and other
spirit. Through endless practice in life, they arise to Taoism heaven, and seat among
other Taoism gods (Little 227). Ultimately, with emergence of different forms of
worship of these gods, Taoism has largely affected Chinese culture through those
gods. In Williams that Encyclopedia of Chinese Symbolism and Art Motives, Kato,
the writer of introduction, further claims Chinese symbolism and art motives are
based on Taoism (viii). Clearly, Taoism plays an important role in Chinese
symbolism. Furthermore, Taoism symbolism is highly utilized in Chinese art, in form
of painting, architecture, and other forms. Therefore, in order to recognize and grasp
some of symbolism, Taoism symbolism, in Chinese art, it would be helpful to utilize
the lens of Taoism.
Chinese ceramics, largely involves symbolism, is another art form highly affected by
Taoism. In fact, most of the symbolism on it originated from Taoism. To better
understand the true beauty of Chinese ceramics, one should examine Chinese
ceramics through the lens of Taoism. Firstly, Taoism has affected Chinese ceramics in
term of the color design. Color symbolism is the most common symbolism in design
of Chinese ceramics. For example, yellow Chinaware is exclusive only to the royal
family. As introduced before, The Rite of Zhou, written in the middle of 2nd century
BC, points out that color appeared on ones clothes demonstrate ones
socioeconomics ranking (Hu 235). Hu, the director of the Department of Textile and
Clothing in Fu Jen Catholic University, observes that yellow is the imperial color in
China (236). The symbolic meaning of yellow, in fact, is originated from Taoism. As
Hu explains, in China, Taoism argues there are five elements: water, fire, wood, metal,
and earth. Moreover, there are five colors: green, red, yellow, white, and black, each
representing one of the element. Yellow represents the element of earth, and is
regarded as a best color among the five according to Taoist (236). Yellow is also the
center in Five Phase system according in Taoism (Little 303), which makes it
supreme. These evidences make it understandable that yellow being the color
exclusive for royal family, specifically the emperor. Government enforces this rule of
color use strictly that any people who misuse the color yellow could be put into death
sentence. It can almost be positive sure that yellow Chinaware in museum is only
produced for the royal familys use. Another color has special meaning in Chinese
culture is red. This meaning is again originated from Taoism. As stated previously,
red is another color regarded as five color by Taoist. In Hus study of Chinese color,
red represents element of fire in Taoism (236). Due to warmth fire brings, the color
red transformed in to a symbol of good sign and happiness. It is the most-used color
as decoration for celebration, such as wedding ceremony and Chinese New Year.
During ancient times, red is the main color in Chinaware produced for the wedding of
Emperor and Empresses. The yellow and red are mostly used colors on Yuyongci (
: Chinese ceramics that exclusive for royal family). The understanding of five color
and five element system in Taoism can largely help viewer to understand the cultural
meaning of the color design.

Beside Taoism-associated colors appeared on Chinese ceramics, patterns on the

Chinese ceramics can as well be understood through the lens of Taoism. Dragon and
phoenix being the most commonly used pattern on Yuyongci. Dragon represents
Emperor in Chinese culture. According to Yetts study in Symbolism in Chinese Art,
dragon is describes as carries on its forehead horns resembling the antlers of a stag.
It has a head of a camel, the eyes of a hare, the cars of a bull, the neck of a snake, the
belly of a frog, scales like a fish, talons like an eagle, and paws like a tiger (22). It is
implies as a mythological animal, which appears in Taoism. Believed by Taoists, the
dragon, supporting the mansions of the gods (Symbolism Williams 135), symbolizes
yang, one of the two Taoism fundamental forces (Cooper 102). In Taoism paintings,
the dragon is always aside with the jade Emperor, Yuhuang (), who is commonly
believed as the supreme god among all Taoism gods, representing yang. Logically,
dragon symbolizes supreme being, and figures as a sign of imperial rank (Yetts 24).
Therefore, the dragon pattern in Chinese ceramics represents the Emperor, the
supreme, but mortal ruler of the society. Phoenix, on the other hands, presents the
Empress. It associates with another important Taoism immortal being, Xiwangmu(
), the Queen Mother of the West, guarding the immortal mountain of Kunlun. It
is said in myth, in her presence, there is always a single phoenix appeared in her
headdress (Little 276). In Taoism, Xiwangmu symbolizes yin, infusing this
characteristic in phoenix. As the compensating part of yang and dragon, phoenix
pattern on Chinese ceramics evolves into symbol of Empress.
Some pattern on Chinese ceramics is clearly the picture form of idiomatic expression.
Surprisingly, there is a connection between these pattern and Taoism. To be specific,
the experssion Lung Feng Cheng Hisang(), involving dragon (Lung) and
phoenix (Feng) are frequently appeared graphically as dragon-phoenix pattern on
Chinaware. This pattern conveys a wish of harmony between Emperor and Empress.
Some other idiomatic expressions are also appeared as pattern associated with Taoism
on Chinese ceramics. The expression Fu Shou Shuang Quan(), means the
possession of both blessing and longevity. As a pattern, it appears as bats flying above
the peach tree. Bat (Fu ) has the same sound with blessing (Fu )in Chinese, thus
becoming the symbol of blessing. While longevity (Shou ) is symbolized as peach
tree. In Taoism, the Peach Tree of the gods is said to bloom once in 3000 years, and
formed the fruit of eternal life 3000 years afterwards. Therefore, it is the symbol of
immortality (Morgan 111). This pattern is another example of mixing Chinese
expression with Taoism belief. Obviously, Taoism has affected the design of Chinese
ceramics in different ways. Both color and pattern design of Chinaware link to
Taoism to some extent. It is because of this connection that Chinese ceramics could
be better appreciated through the lens of Taoism.
Even though Taoism plays a large part in design of Chinese ceramics, some might
still argue that without the knowledge of Chinese culture, or knowledge of Taoism, it
is still able to appreciate Chinese ceramics. They believe that the Art should be
without border. The art form that requires specific background knowledge to
appreciate is not a true, at least a good art form. As a most distinguished art form in
China, Chinese ceramics should have the quality enable viewer to appreciate without
any background information. To some extent, this argument has plausible reasoning.
However, there exist different levels of appreciation of art. Without knowledge of

Chinese culture and Taoism, people maybe able to appreciate the superficial beauty of
the Chinese ceramics through its color, shape and pattern. This beauty accords with
aesthetics. It is only the most basic appreciation. Fundamentally, however, they are
not able to grasp the essence of Chinese culture on Chinaware, acquiring higher-level
appreciation. Only with certain knowledge of Chinese culture, it is possible to
uncover the cultural meaning of color and pattern. Knowledge of Chinese culture
enables viewer to achieve higher-level appreciation and understand Chinese ceramics
better. Another fact is that without knowledge of Chinese culture and Taoism, basic
level appreciation is even impossible. In Williamss Encyclopedia of Chinese
Symbolism and Art Motives, calligraphy is briefly discussed as one of the thing that
Westerner could not understand and appreciate (xi). Kato, the writer of introduction,
believes that Calligraphy is a production of a spirit of veneration for the written
character (xiii). The spirit Calligraphy emphasizes is another important thing Taoism
advocated. Taoism encourage art has an astonishing mixture of spirituality and
native joyand with it a subtle mystery (Cooper 86). As the art Calligraphy is also
utilized as pattern on Chinese ceramics, some knowledge of Taoism is necessary to
grasp even the superficial beauty of Chinese ceramics. Therefore, right amount of
cultural background and knowledge of Taoism is required to grasp the both basic and
upper-level beauty of Chinese ceramics.
Indeed, specific knowledge of Chinese culture is critical to the understanding of
Chinese ceramics. Taoism, an important religion and philosophy in China, has largely
affect Chinese ceramics in terms of its design. Therefore, Chinese ceramics can be
better appreciated, revealing its true beauty, through the lens of Taoism. Furthermore,
as the world is becoming more culturally diverse: different relationship going on
between different countries. The study of Chinese culture becomes timely. The
understanding of Chinese ceramics offers people a glance at Chinese culture. Some
knowledge of Chinese culture is helpful in this culturally diverse world. On the other
hand, learning about the past makes it possible to appreciating the history.
Undoubtedly, Chinese ceramics as a carrier of Chinese culture is worth studying.