{"id":27644,"date":"2026-02-13T13:57:32","date_gmt":"2026-02-13T13:57:32","guid":{"rendered":"https:\/\/www.elailan.com\/?p=27644"},"modified":"2026-02-13T13:58:38","modified_gmt":"2026-02-13T13:58:38","slug":"the-chenghua-kiln-blue-and-white-dragon-dish","status":"publish","type":"post","link":"https:\/\/www.elailan.com\/th\/2026\/02\/13\/the-chenghua-kiln-blue-and-white-dragon-dish\/","title":{"rendered":"The Chenghua Kiln Blue-and-White Dragon Dish"},"content":{"rendered":"<h4 class=\"wp-block-heading\">I. Historical Background and Overall Style<\/h4>\n\n\n\n<p>The imperial kilns of the Chenghua era (1465\u20131487) hold an important transitional position in the history of Chinese ceramics. Unlike the vigorous and bold style of the Yongle and Xuande periods, Chenghua porcelain pursued&nbsp;<strong>delicacy, elegance, and softness<\/strong>.<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li><strong>Body and Glaze Characteristics<\/strong>: The porcelain body is exceptionally fine and white, and the glaze is unctuous and smooth like jade, with a soft luster that gives a warm and gentle tactile impression.<\/li>\n\n\n\n<li><strong>Blue Color<\/strong>: Chenghua official kilns primarily used &#8220;Pingdeng Qing&#8221; (also known as &#8220;Bo Tang Qing&#8221;) cobalt material. This material has a low iron content, resulting in a\u00a0<strong>refined and elegant blue<\/strong>\u00a0without the prominent black iron spots characteristic of the Yongle and Xuande periods. This feature is particularly evident in the &#8220;Dish with Dragons Amidst Flowers and Medallions&#8221; collection at the National Palace Museum, Taipei.<\/li>\n\n\n\n<li><strong>Marks<\/strong>: The reign mark is typically a six-character, two-line regular script mark reading &#8220;Da Ming Chenghua Nian Zhi&#8221; within a double circle or double square. The characters are\u00a0<strong>rounded and delicate<\/strong>, known as the &#8220;Chenghua mark,&#8221; and are a key basis for authentication.<\/li>\n<\/ul>\n\n\n\n<h4 class=\"wp-block-heading\">II. Artistic Analysis of Typical Varieties<\/h4>\n\n\n\n<p>Although the theme of Chenghua blue-and-white dragon dishes is consistently the dragon, the different combinations of motifs and techniques achieve distinctly different artistic effects.<\/p>\n\n\n\n<figure class=\"wp-block-table\"><table class=\"has-fixed-layout\"><thead><tr><th class=\"has-text-align-left\" data-align=\"left\">Typical Variety<\/th><th class=\"has-text-align-left\" data-align=\"left\">Core Decoration and Technique<\/th><th class=\"has-text-align-left\" data-align=\"left\">Artistic Appreciation and Analysis<\/th><\/tr><\/thead><tbody><tr><td><strong>Dish with White Dragons in Blue-and-White Waves<\/strong><\/td><td>Uses&nbsp;<strong>rich, deep blue<\/strong>&nbsp;to depict surging waves as a ground, while the&nbsp;<strong>white porcelain body is reserved (left in the white)<\/strong>&nbsp;to depict nine white dragons writhing amidst the waves; the center features a dragon amidst clouds.<\/td><td><strong>Strong contrast, full of movement<\/strong>. This &#8220;blue ground, white reserve&#8221; technique is technically challenging. It creates layers in the waves using varying shades of blue, and the white dragons appear highly three-dimensional and imposing against this backdrop, showcasing the superb control over complex compositions in the Chenghua era.<\/td><\/tr><tr><td><strong>Large Dish with Dragons Amidst Flowers and Medallions<\/strong><\/td><td>Two dragons on the exterior weave through passiflora\/scroll flowers; the central medallion depicts one dragon weaving through similar floral scrolls. The&nbsp;<strong>blue color is refined and elegant<\/strong>, the outlines meticulously painted.<\/td><td><strong>Dense composition, elegant temperament<\/strong>. This &#8220;dragon amidst flowers&#8221; pattern combines imperial authority with floral softness. The refined blue tones down the conflict, making the composition resemble a delicate fine-line painting, reflecting the Chenghua court&#8217;s aesthetic preference for refinement and grace.<\/td><\/tr><tr><td><strong>Dish with Filled-in Green Enamel Dragon (Underglaze Blue Outline)<\/strong><\/td><td>A semi-finished product: The cloud dragon design is first incised into the body, covered with a transparent glaze and fired. Then, green enamel is meticulously filled in over the glaze, followed by a second low-temperature firing.<\/td><td><strong>Complex technique, serene tones<\/strong>. This &#8220;underglaze blue with overglaze enamel&#8221; technique is exceptionally complex, and surviving examples are extremely rare. It combines the three-dimensionality of the underglaze incised pattern with the vividness of the overglaze green. The interplay of green and white is simple yet noble, making it a top-tier imperial variety known only to a few major museums and important collections.<\/td><\/tr><tr><td><strong>Saucer Dish with Dragons and Phoenixes<\/strong><\/td><td>Depicts a &#8220;Dragon and Phoenix in Harmony&#8221; design, but features a&nbsp;<strong>painting error<\/strong>&nbsp;(some dragons have six claws instead of the prescribed five). It was consequently rejected and never used.<\/td><td><strong>A rare &#8220;rejected&#8221; specimen<\/strong>. This artifact, excavated from the Jingdezhen Imperial Kiln site, perfectly illustrates the extremely strict quality control of the Imperial Kiln Factory. Even if skillfully painted, any piece violating the ritual regulations (like the five-clawed dragon) was smashed and buried, forbidden from ever entering the palace.<\/td><\/tr><\/tbody><\/table><\/figure>\n\n\n\n<h4 class=\"wp-block-heading\">III. Evolution of Dragon Motifs and Key Appreciation Points<\/h4>\n\n\n\n<ul class=\"wp-block-list\">\n<li><strong>Dragon Characteristics<\/strong>: Chenghua dragon motifs possess distinct period features. Compared to the fierce and powerful dragons of the Yongle and Xuande eras, Chenghua dragons appear more\u00a0<strong>refined, gentle, and serene<\/strong>. The head is relatively flat and elongated, often with the mouth closed and the upper lip slightly upturned, sometimes with an elephant-like trunk. The claws are sharp, but the overall posture lacks the commanding, earth-shaking dominance of earlier periods, instead exhibiting a dignified tranquility. This shift reflects the gentle nature of the Chenghua Emperor and the court culture&#8217;s turn towards inward reflection.<\/li>\n\n\n\n<li><strong>Craftsmanship Details<\/strong>: Appreciation should also consider subtle details. For example, some Chenghua dishes have a characteristic &#8220;burnt rice bottom&#8221; (or &#8220;gritty&#8221; reddish-brown foot ring), where the unglazed base appears dark ochre with tiny black specks. This results from iron compounds in the clay body oxidizing during firing and serves as a supplementary criterion for authentication.<\/li>\n<\/ul>\n\n\n\n<h3 class=\"wp-block-heading\">Conclusion<\/h3>\n\n\n\n<p>Appreciating a Chenghua kiln blue-and-white dragon dish lies in understanding its unique aesthetic:&nbsp;<strong>&#8220;refinement concealing depth, delicacy veiling majesty.&#8221;<\/strong>&nbsp;It preserves the inherent authority of the dragon as an imperial symbol while seamlessly integrating it into the warm, exquisite craftsmanship of the Chenghua era. Whether it&#8217;s the stark contrast of the &#8220;waves and white dragons,&#8221; the complex technique of the &#8220;filled-in green enamel dragon,&#8221; or the elegant composition of the &#8220;dragon amidst flowers,&#8221; these pieces represent the pinnacle of artistic achievement at the Jingdezhen Imperial Kilns during the mid-Ming dynasty. Their extreme rarity and the high prices achieved at auction (e.g., a filled-in green enamel dragon dish sold for nearly&nbsp;<strong>15 million RMB<\/strong>, and a green-enameled dragon dish sold for&nbsp;<strong>14.3 million RMB<\/strong>&nbsp;in 2007) are sufficient testament to their esteemed status in the world of collecting.<\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><img fetchpriority=\"high\" decoding=\"async\" width=\"492\" height=\"483\" src=\"https:\/\/www.elailan.com\/wp-content\/uploads\/2026\/02\/the-Chenghua-Kiln-Blue-and-White-Dragon-Dish.png\" alt=\"\" class=\"wp-image-27645\" srcset=\"https:\/\/www.elailan.com\/wp-content\/uploads\/2026\/02\/the-Chenghua-Kiln-Blue-and-White-Dragon-Dish.png 492w, https:\/\/www.elailan.com\/wp-content\/uploads\/2026\/02\/the-Chenghua-Kiln-Blue-and-White-Dragon-Dish-12x12.png 12w, https:\/\/www.elailan.com\/wp-content\/uploads\/2026\/02\/the-Chenghua-Kiln-Blue-and-White-Dragon-Dish-430x422.png 430w, https:\/\/www.elailan.com\/wp-content\/uploads\/2026\/02\/the-Chenghua-Kiln-Blue-and-White-Dragon-Dish-150x147.png 150w\" sizes=\"(max-width: 492px) 100vw, 492px\" \/><\/figure>","protected":false},"excerpt":{"rendered":"<p>I. Historical Background and Overall Style The imperial kilns of the Chenghua era (1465\u20131487) hold an important transitional position in<\/p>","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[168],"tags":[],"class_list":["post-27644","post","type-post","status-publish","format-standard","hentry","category-knowledge-popularization"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.5 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>The Chenghua Kiln Blue-and-White Dragon Dish - Experience Better Goods -Elailan<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.elailan.com\/th\/2026\/02\/13\/the-chenghua-kiln-blue-and-white-dragon-dish\/\" \/>\n<meta property=\"og:locale\" content=\"th_TH\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"The Chenghua Kiln Blue-and-White Dragon Dish - Experience Better Goods -Elailan\" \/>\n<meta property=\"og:description\" content=\"I. 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