Leadership Insights | Illustrated Lectures:Liuli: Colored Glaze Illuminating the Genes of Chinese Civilization

The term “Liuli” (colored glaze) generally refers to low-temperature lead-glazed ceramics, which are commonly used as decorative materials in palaces, tombs, temples, shrines, and pagodas. After a long time of production practice, Liuli has achieved a considerable level in terms of designs, decorative styles, and making techniques. Buildings with Liuli decorations seamlessly combine traditional Chinese ceramic culture with architectural culture, becoming a type of architecture with distinctive Chinese characteristics and rich cultural connotations.

Liuli production is popular in Shanxi Province, which reached its peak during the Ming Dynasty (1368-1644) and left behind many historical sites. Later, the Zhao family dedicated to Liuli production in the province’s Yuci County introduced this craft to Beijing. The official kilns produced Liuli in light of the regulation of the Ministry of Works during the Qing Dynasty (1644-1911), which had since been regarded as the standard method for official production. Usually, a single Liuli piece takes more than 10 days and goes through over 20 procedures before it is completed. First, artisans select cruciate soil as the raw material and make it into ceramic clay after steps such as crushing, sieving, washing, and refining. The dried clay mold is fired in the kiln, a process commonly known as “bisque firing.” Afterwards, glazes are applied, and the piece is fired again, called “glaze firing.”

Ancient architectural glazed components need to be fired twice in the kiln, one for the bisque firing and the other for the glaze firing. The ancient techniques such as “three-color enameling” and “nine-fire firing” are still in use today. Liuli craftsmanship embodies the ancient Chinese philosophical concept of “harmony between humanity and nature.” Classic works like the Nine-Dragon Wall in the Forbidden City and the remnants of royal glazed kilns all reflect the charm of Eastern glaze aesthetics. To pass on this ancient craftsmanship in contemporary times, people integrate traditional techniques with modern design to develop innovative products such as tea sets and jewelry, continuing the cultural vitality of millennia-old kiln fires.

Cultural relics and heritage carry the genes and blood of the Chinese nation, and they not only belong to our generation but also to future generations. We must respect history, culture, and the ecosystem, comprehensively protect historical and cultural heritage, coordinate tourism development, specialized industries, and ancient city preservation, strengthen the bottom line of cultural relic safety, and safeguard the valuable legacy left to us by our predecessors.

監製:蔚力

策劃:丁素雲

文案:楊俊康