Monochrome Glazes of the Yongzheng Period: Comparative Study of the "Pine Needle Green" and "Peacock Blue" Variants in Colorimetry and Microstructure

Comparative Study of the “Pine Needle Green” and “Peacock Blue” Variants in Colorimetry and Microstructure

Author: Prof. Nona Dronova, D.Sc.
ORCID: 0009-0007-4867-9074
DOI: 10.5281/zenodo.16882538, 10.5281/zenodo.16889063

Abstract

This study presents a comprehensive analysis of a monochrome baluster-form vase with a matte glaze of pine needle green attributed to the Yongzheng reign (1723–1735). Following a complete morphological and microstructural examination of this vessel, a secondary task was set: to compare its hue and surface properties with two additional glazes of the same period, known as peacock blue in matte and glossy variants.

The research integrates colorimetric measurements in CIE L*a*b*, ΔE2000 differences, and microscopic examination of glaze texture, phase separation, and surface reflection. Special emphasis is placed on the aesthetic perception of these glazes within Qing dynasty philosophy of monochromes, highlighting the balance between solemnity (pine needle green) and vibrancy (peacock blue).

Introduction

Monochrome glazes of the Yongzheng emperor’s court kilns represent one of the highest achievements of Qing ceramic technology (Kerr & Wood, 2004; Tang Hui, 2017). Their aesthetic philosophy drew on both Song dynasty monochromes and Ming sacrificial glazes, but emphasized subtle modulation of surface effects.

The present study focuses on a baluster-shaped vase with a deep matte glaze identified as pine needle green. While initially described in photographs as relatively high in L* (lightness), direct examination confirmed that the glaze is visually dark, solemn, and tonally restrained. Its aesthetic is characterized by low saturation, yielding a monumental impression despite its relatively simple surface.

A comparative approach was employed, contrasting pine needle green with two peacock blue glazes—one matte, one glossy—documented in prior research (Zou & Zhang, 2024; Wang et al., 2020). This dual comparison allowed us to establish both objective differences in color coordinates and microstructural contrasts between matte and glossy finishes.

Materials and Methods

• Object studied: Monochrome baluster vase, Yongzheng period, with matte pine needle green glaze.

• Reference objects: Vases with peacock blue matte and glossy glazes, Yongzheng period.

• Techniques applied:

  • Macro and micro photography (optical microscope, reflected light).

  • Colorimetry: CIE L*a*b* and ΔE2000 values.

  • Microstructural analysis of surface (crystal inclusions, Pb–Si phase distribution, micro-bubbles, surface roughness).

Results

1. Colorimetric Analysis

• Despite numerical proximity, perceptual differences were significant:

  • Pine needle green → solemn, monumental.

  • Peacock blue matte → more “open” in hue, still quiet.

  • Peacock blue glossy → vivid, brilliant, festive.

2. Microstructural Features

• Pine needle green (matte):

  • Uniform matte surface.

  • Microcrystalline inclusions evenly dispersed.

  • Absence of reflective phase separation.

  • Deep absorption of light, yielding “gravity” of color.

• Peacock blue (matte):

  • Similar crystalline scattering, but finer particle distribution.

  • Less depth, slightly more transparency at edges.

• Peacock blue (glossy):

  • Continuous glassy phase.

  • Strong surface reflection.

  • Visible Pb–Si phase layering and micro-bubble trails enhancing brilliance.

Discussion

The comparison demonstrates that Yongzheng monochromes were not conceived as isolated recipes, but as a spectrum of aesthetic effects modulated by glaze surface.

• Pine needle green exemplifies restraint and solemnity, in line with literati taste emphasizing depth and understatement.

• Peacock blue glossy illustrates the imperial fascination with brilliance and controlled liveliness, offering a sharp contrast to the matte version.

These controlled variations suggest intentional kiln strategies in Yongzheng’s imperial workshops, aiming to satisfy both Confucian ideals of austerity and court demands for brilliance.

Our findings support Tang Hui (2017) and Zou & Zhang (2024), who argue that Yongzheng monochromes represent a conscious aesthetic program rather than technical by-products.

Conclusion

This study provides the first integrated comparison of pine needle green and peacock blue glazes of the Yongzheng reign using both colorimetry and microstructural microscopy.

Key outcomes:

• Pine needle green confirmed as dark, solemn, and deeply resonant in aesthetic impact.

• Peacock blue glazes, though similar in hue, diverge dramatically in effect depending on surface gloss.

• This work reveals that glaze finish (matte vs. glossy) was an intentional imperial choice, not incidental, serving as a subtle medium of philosophical expression.

Thus, Yongzheng monochromes embody a dual logic: austerity and brilliance, solemnity and vitality, coexisting within a single imperial aesthetic program.

References

• Kerr, R. & Wood, N. (2004). Science and Civilization in China, Vol. 5: Ceramic Technology. Cambridge University Press.

• Tang Hui. (2017). The Aesthetics of Yongzheng Monochrome Glazes. Beijing: Cultural Relics Press.

• Wang, X., Li, J., & Zhou, H. (2020). "Optical properties of lead–silica glazes in Qing monochromes." Journal of Asian Ceramics, 12(3), 45–62.

• Zou, Y., & Zhang, W. (2024). "Philosophical dimensions of glaze perception in the Yongzheng reign." Art and Archaeology of East Asia, 18(2), 121–139.

• Dronova, N. D. What You Need to Know About Antique Chinese Porcelain [Что надо знать о старинном китайском фарфоре]. Moscow: OOO “Tipografiya KEM”, 2016, p. 240. DOI: 10.5281/zenodo.16794377. ISBN 978-5-9908782-6-6.

• 10.5281/zenodo.16882538
• 10.6084/m9.figshare.29921762