Jun porcelain in Qing Dynasty can be divided into two active periods: Kang Yong period and Guangxu period.
By the Qing Dynasty, the whole porcelain-making process had reached a high level, and the production of southern porcelain industry had further developed, especially in Jingdezhen. At this time, Jingdezhen set up an imperial ware factory to burn palace porcelain and imitate the famous porcelain of the Song Dynasty. Yong Zhengdi, in particular, was very fond of the famous porcelain of the Song Dynasty. Therefore, the imperial court not only collected a large number of famous kiln porcelain handed down from the Song Dynasty, but also ordered Jingdezhen Royal Products Factory to copy it. In the process of imitation, imitating Jun is the most successful.
According to historical records, in March of the seventh year of Yongzheng (1729), Tang Ying, assistant director of Jingdezhen Imperial Ware Factory, sent Wu Yaopu, a screen friend of the factory, to Yuzhou to inspect the glaze making method of Jun kiln. This shows that the Qing court attached importance to imitating Jun, and also shows that there may be a small number of burners in Yuzhou Jun kiln when imitating Jun, but it is no longer possible to produce fine tributes.
In the late Qing Dynasty, due to the invasion of imperialist countries, China's ceramic industry was severely hit. In order to save China's ceramic industry, national industrialists and businessmen set up some new porcelain factories and companies under the slogan of "revitalizing industry" advocated by the Qing Dynasty. In the fifth year of Guangxu (1879), the ceramists Lu Zhentai and Lu Zhentai's sons Tianfu, Tianzeng and Tianen in Shenhou Town decided to restore Jun porcelain because of the high price of Song carvings purchased by antique dealers. After years of repeated experiments, cobalt oxide was finally used as colorant to burn malachite green and blue imitation jun in the oxidation flame. They also used the method of realizing fire (reducing flame burning) to burn small pieces of imitation Song military porcelain with bellows furnace. The third generation artists of Lu, Guangtong, Guangdong and Guanghua, were determined to restore Jun porcelain, and finally resumed production of Jun porcelain that had been lost for a long time during Guangxu period of Qing Dynasty.
In the 28th year of Guangxu (1902), Cao Guangquan, the magistrate of Yuzhou, collected craftsmen to burn Jun porcelain in the official residence of Yuzhou to make 36 pieces of Jun porcelain stoves, bottles, pots, peaches and other longevity porcelain. Empress Dowager Cixi praised these long-lived porcelain for their combination of form and spirit and their brilliance as jade. Since then, Jun porcelain has entered the art world, entered the court and attracted much attention.
Throughout the Qing Dynasty Jun porcelain, we can see its elegance. Compared with Jun porcelain in Tang, Song, Yuan and Ming Dynasties, the color points of Yuan Si, Flame Blue and Flame Red are scattered and floating, so people call it "flow" as the main feature of Jun porcelain in Qing Dynasty.
In a word, Jun porcelain in Qing Dynasty made great efforts to break through the glaze color on the basis of inheriting the tradition. In the impact of the north and south cultures, it has perfected the rough and bold modeling and elegant and simple glaze color in the north, conveying an elegant charm.