The Concept of Confucian-Daoist Complementarity in the Art of Northern Song Imperial Ru Ware

Abstract

During the reign of Emperors Zhezong（哲宗）and Huizong（徽宗）of the Northern Song dynasty, for a period of approximately twenty years, the Ru Kiln（汝窯）produced celadon ware exclusively for imperial use. Characterized primarily by its sky-blue glaze（天青釉）, incense-ash-colored body (香灰胎), sesame-seed spur marks (芝麻釘眼), and crab-claw crackles (蟹爪紋), its superb craftsmanship and exquisite quality earned Ru ware recognition by the mainstream aesthetic, subsequently placing it among the Five Great Kilns of the Song dynasty. The official establishment of ceramics as orthodox ritual vessels（禮器）during the Northern Song marked a sublimation of the ritual vessel system, shifting its emphasis from material preciousness to spiritual essence. The forms of Ru ware conform to the intrinsic function of the vessels, prioritizing the sky-blue hue for its nobility. The glaze, which is lustrous and softly radiant, precisely aligns with the Daoist（道家）concepts of Simplicity (樸素) and Profound Tranquility (玄淡). This transcendence allowed the vessels to move beyond their symbolic function of color and form, becoming a vehicle for the scholar-officials to “ride the things to wander the mind” (乘物以遊心) and embody their transcendent sentiments.