Yue Ware and Mi-se Porcelain: A Study on Artistic Features and Overseas Trade Circulation

Abstract

This paper examines the artistic characteristics and overseas circulation of Yue ware and its finest variant, Mi-se (secret color) porcelain, from the Tang to the Northern Song dynasties. Based on archaeological discoveries, including the famous hoard from Famen Temple and shipwreck cargoes such as the Cirebon wreck, the study compares the two wares in terms of vessel forms, glaze colors, and decorative techniques. It is argued that while Yue ware encompasses a broad range of daily utensils with diverse shapes, imitation animal and plant motifs, and rich ornamentation (incising, stamping, appliqué, and openwork), Mi se porcelain represents a selective, high-quality production characterized by full body glaze, refined modeling, and a distinctive bluish green “thousand peak green” hue. The development of Mi se is divided into five chronological phases, revealing a trajectory from early experimental firing to peak craftsmanship and eventual decline. Furthermore, the paper analyzes the scale, routes, and institutional background of Yue ware exports, highlighting its increasing dominance in maritime trade from the 9th to 10th centuries. The evidence from shipwrecks and overseas sites demonstrates that Yue ware, especially Mi se, was not only a tribute item for the imperial court but also a major commodity in international commerce, with state supervised kilns producing both official and export wares. This dual role sheds new light on the economic and cultural interactions along the early maritime Silk Road.