“China’s cultural, political and economic history is intrinsically linked to the evolution of porcelain, a highly technical material in which Chinese potters gained extraordinary expertise over time. Created using the elements–earth, water, air and fire–these porcelains were further enhanced with coloured glazes to make them water-resistant and suitable for daily use. These coloured glazes were perfected by potters, glorified by poets and highly prized by emperors. In a continual quest to create new colours, he Chinese potters also experimented [with]different firing temperatures and pigments while paying particular attention to texture and surface: a soft feel, and a glossy, even finish.

Considering the importance that Chinese literati attached to the material (a part of our world and a reflection of it) and the need for purity in pieces used for rituals, Chinese potters embarked on a continued quest for perfection, and ever-purer forms and colours. The monochromes–or single-colour ceramics–thoroughly embody this quest. In their pursuit to create new colours and please the Chinese emperors, who were keen art aficionados, the potters invented a variety of extremely subtle hues which can only be perceived in natural light. Chinese literati and emperors admired works of art in daylight. For these Chinese monochrome masterpieces to be appreciated in similar lighting conditions, we are presenting this exhibition in white light. It gathers the finest Chinese monochromes from Richard Kan’s Zhuyuetang and the Guimet collections.”

“In China, there is an infinite variety of soils, some of them, notably clays, can be shaped and fired at high temperature. They can be used to make very resistant recipients for everyday use. Clays from China have been used for thousands of years and are known around the world. When fired, they turn beige, brown, grey or white. Kaolin is a very pure, white clay, which is generally mixed with petuntse, a feldspathic rock, to make porcelain. China was known worldwide for these immaculate white wares. Most clays, with the exception of kaolin, contain iron and oxides which create different colours.

The glaze that makes the object impermeable is often comprised of clay and ash or carbonate-rich minerals. The colour obtained after firing depends on the metallic oxides, the temperature and the atmosphere of the kiln. For several centuries, the colour range of Chinese ceramics was limited to white, black, green and light brown. The colours of these objects inspired Chinese poets for whom they evoked elements of nature.”

“White ceramics are the finest expression of Chinese potters’ craftsmanship, combining a clear paste and a white-tinted transparent or opaque glaze. While their colours may seem similar at first glance, on closer inspection, we see their palette ranges from cool white to warm ivory, and even with a bluish tint. These hues were given evocative names such as ‘egg white’ and ‘sweet white’ and each shade reacts differently to the light, giving some a matt texture and a glossy appearance to others. They all however use ingredients that contain very few amount of colourants such as iron, which is often found in clay material. White ceramics became very popular from the 8th century, during the Tang dynasty, when they were introduced into the imperial court. The whiteness of Xing wares even inspired poets, who compared them to polished silver and snow. Their immaculate colour–unblemished–was also associated with the notion of purity. In the 15th century, white wares were used for rituals related to the deceased ancestors of the imperial family, as well as used in the Altar of the Moon.”