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Wanyu | Jade-like Porcelain​
Meticulously crafted to capture the essence of nature’s grace.
Wanyu continues a millennium-old legacy of porcelain emulating jade – a tradition where celadon once stood as jade’s embodiment. Jade embodies the Chinese ethos of subtle elegance and understated sophistication, a timeless spirit that transcends eras.
Rooted in traditional porcelain artistry, we collaborate with designers to reinterpret timeless craftsmanship for contemporary living, reviving poetic refinement in modern life. We explore the dialogue between heritage and modernity, creating refined Chinese porcelain with timeless elegance.

WANYUMUGU
Honoring the Legacy of Imperial Kiln Supervisors

Tang Ying (1682-1756), paramount among Qing Dynasty Imperial Kiln Supervisors, revolutionized Jingdezhen’s porcelain craft through twenty-eight years of dedication—three spent side-by-side with kiln artisans. His ethos, “mastery of materials and kiln-fire rivals alchemy; it revives antiquity while innovating for modernity,” ignited a golden age of porcelain that fused classical reverence with pioneering artistry.

Emperor Yongzheng’s passion for Song dynasty aesthetics found expression in Tang Ying’s vision. Guided by principles of “palace workshop refinement,” Tang elevated ancestral techniques into a new paradigm of Qing imperial elegance—balanced, dignified, and timeless.

Inspired by this legacy, Wanyu Reverence for Antiquity reinterprets Ming-Qing imperial prototypes. We transcend singular techniques—qinghua’s cobalt poetry, fencai’s delicate palette, monochrome glaze’s purity, or enamel’s brilliance—to innovate through curated diversity. Each limited-edition piece honors tradition while advancing craftsmanship, with most works being unique creations bearing entrusted marks, “Wanyu” seals, and reign-era inscriptions.

The 2020 inaugural collection epitomizes this mission: a homage to Yongxuan-era qinghua vitality, Yongzheng falangcaisophistication, and the serene power of monochrome glazes.

Where history’s essence meets contemporary ingenuity.

WUMING
Where Daoist Silence Meets Imperial Fire

I. Origin in the Unnamed
The name “Nameless” draws from Laozi’s teaching—“The Dao lies hidden in the nameless”. For millennia, China’s porcelain masterpieces outlived their makers, leaving artisans veiled in history’s shadows. This series honors those unsung geniuses whose hands shaped eternity.

II. Reviving Chenghua’s Epoch
Since 2018, Nameless has resurrected Chenghua-era (1465-1487) imperial craft. We deploy:

• Marang Clay from Yaoli’s mist-clad peaks
• Yongle Sweet-White glaze—lustrous as crystallized honey
• Leping Potangqing cobalt for underglaze blues of poetic subtlety
• Petite Wash technique defining Chenghua’s miniature elegance
• Gemstone pigments and century-aged iron-red
  Each piece embodies Chenghua’s ethos: “grand artistry in apparent simplicity” (大巧若拙), with brushwork echoing Ming scholar-painters’ archaic grace.

III. Historical Echoes
When 14th-century Jingdezhen artisans tamed cobalt blue under high fire, they shattered a 2,000-year tradition of jade imitation. Xuande reign inaugurated imperial reign marks, but Chenghua perfected porcelain poetry: its qinghua balanced cobalt lines with lyrical voids, while doucai fused underglaze blue and overglaze enamels into chromatic symphonies—a zenith never surpassed.

IV. Contemporary Alchemy
Nameless rekindles this legacy through:

• Wood-kiln firing at 1,310°C
• Limited editions (≤100 pieces/year)
• Triune value: Utility for modern rituals, virtuoso craft, eternal elegance
  We bridge Ming dynasty rigor and today’s aesthetic thirst, proving porcelain’s golden age is now.

V. Connoisseur’s Testament
Nameless commands reverence even from antique collectors—a rarity in an era privileging antiquity. Its value pillars redefine collectibility:

1. Utility: Vessels harmonizing ritual with daily use
2. Craft: Kiln-alchemy marrying Marang clay and gemstone hues
3. Art: Eastern refinement crystallized in form
   Post-imperial China witnesses no greater porcelain renaissance.

VI. The Unnamed Standard
Every piece rigorously follows Chenghua protocols:

• Forms mirroring Palace Museum relics
• Clay/glaze matching 15th-century specs
• Motifs spanning:
  ‣ Chenghua doucai’s enamelled delicacy
  ‣ Interregnum figure painting (1436-1464) with ‘spring-cloud’ brushwork
  ‣ Jiajing-Wanli polychrome’s vibrant narratives

In anonymity, we find immortality.

CANGZHEN

We revive not relics, but a ​living discipline. Every vessel embodies the Palace Workshop’s trinity:

• ​Utility​ for modern rituals
• ​Craft​ marrying wood-kiln alchemy and scholar-painter brushwork
• ​Art​ crystallizing Eastern refinement
  In adhering to Yongzheng’s 18th-century protocols, we prove porcelain’s golden age is now
   

   

   
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QINGYUAN

We sculpt not vessels, but ​eternity in flux.

• Each curve is a dialogue between Yongzheng’s “refine toward microscopic perfection” and Wang Wei’s “ink-wash mountains”.
• Every glaze layer embodies Confucian discipline: surface humility veiling unfathomable depth.
  In our ateliers, 18th-century palace protocols resurrect — not as relics, but as ​living brushstrokes.

SHIYIN

We transcend replication to reactivate ​Yuan’s cobalt soul:

• ​Geological Poetry: Each vessel embodies mountains’ yin–yang dialogue through crystalline brushstrokes.
• ​Chromatic Archaeology: Sumali blue’s ​​”violet-tinted sapphire”​​ (宝⽯蓝) is reborn — not as relic, but as ​living mineral light.
  In our kilns, 14th-century alchemy becomes contemporary art.

YIGUCANGQI

“The clay remembers what the hand forgets: in every crackle-glaze lies a dynasty’s whisper.”

We are ​time alchemists:

• ​Clay as Philosophy: Each vessel embodies wu-wei (无为) — perfection through disciplined spontaneity.
• ​Line as Legacy: Xu Yuhua’s brushes trace lineages from Bada Shanren’s abstraction to Zhao Wuji’s modernity.
• ​Fire as Destiny: Gas-kiln mastery transforms earth into ​​”stone that breathes”​​ (可呼吸之石).
  Cui Wang’s copper-reds are reborn in flame; Jiang Xin’s doucai marries East and West. This is ​heritage unchained.

BUSHITANG

Bushitang (不识堂) emerges from Jingdezhen Ceramic Institute graduates, pioneering ​raw-mineral underglaze copper-red teawares​ (原矿手造釉里红茶器). We defy the old maxim “poverty breeds red” — where traditional kilns sacrificed color stability for cost efficiency — through ​academy-backed R&D + capital investment, achieving ​cocksblood red​ (鸡血红) with ​jadeite infusion​ (翡翠沁色) in 1,024 experimental firings. This breakthrough resurrects the lost Hongwu-era glory, hailed as “the first true revival of underglaze copper-red since the Ming technological rupture”.