A Beginner’s Guide to Jian Zhan: Definition, History, Craft, Appraisal, and Care

On May 11, 2011, A Jian Zhan 'hare's fur' temmoku tea bowl sold for £1,105,250 (RMB 11.748 million) at Sotheby’s London, setting a record at the time.

On September 15, 2016, a Southern Song Jian Kiln “Oil Spot” teabowl fetched $11.701 million (RMB 78.28 million) at Christie’s New York, breaking the previous record and reaching a new historical high.

These astronomical auction prices reflect the high esteem Jian Zhan holds among collectors today, drawing many tea enthusiasts eager to acquire and treasure these pieces.

Below is a systematic introduction to Jian Zhan—its definition, rich history, craftsmanship, quality appraisal, and usage—to help you quickly understand this ancient and distinctive Chinese teabowl.

——Definition

Jian Zhan is a type of black-glazed ceramic that originated in the Song Dynasty. It was produced in Jianyang District, Nanping City, Fujian Province—an area historically known as Jianzhou, hence the name “Jian Zhan.”

According to the geographical indication product standard (DB35/T 1739-2018), Jian Zhan refers to black-glazed teabowls produced within the administrative region of Jianyang using local yellow clay, red soil, glaze stone, plant ash, and other raw materials. They are made through standardized techniques and classified by glaze pattern into six types: Hare’s Fur, Oil Spot, Partridge Feather, Black Gold, Yohen, and Miscellaneous.

Hare’s Fur

Oil Spot

Partridge Feather

Black Gold

Yohen

——History

Jian Zhan gained popularity as early as the Song Dynasty (960–1279).

The preferred method of tea preparation at the time was diancha: tea was ground into fine powder, sifted, and whisked with hot water in a bowl. The dark glaze of Jian Zhan provided ideal contrast to the white foam of the tea, allowing drinkers to clearly observe the texture and consistency—making it a favorite among all social classes, from emperors to commoners.

During Japan’s Kamakura period (1192–1333), monks studying at Jingshan Temple in Tianmu Mountain (Zhejiang Province) brought black-glazed teabowls back to Japan, naming them “Tianmu” after the mountain. The term eventually became a general Japanese word for dark-glazed tea bowls.

With the spread and development of Japanese tea ceremony culture, Jian Zhan became highly prized. Rare varieties commanded extraordinary values. For example, the 1511 text Kundai Kan Saōki records: “Yohen Jian Zhan is priceless, worth 10,000 rolls of silk; Yuteki (Oil Spot) is worth 5,000; Temmoku (Hare’s Fur) 3,000.”

Today, fine Jian Zhan pieces from the Song Dynasty are designated National Treasures in Japan. Of the 14 ceramics listed as National Treasures under Japan’s Cultural Protection Law, 8 are Chinese—including 4 Jian Zhan pieces: three Yohen and one Yuteki bowl.

The three Yohen bowls are housed in the Seikadō Bunko Art Museum (Tokyo), the Fujita Art Museum (Osaka), and Ryūkō-in Temple (Daitoku-ji, Kyoto). The Yuteki bowl is in the Museum of Oriental Ceramics, Osaka. Another Yuteki piece in the Miho Museum is designated an Important Cultural Property.

——Craftsmanship

Traditional Jian Zhan was produced mainly in Shuiji Town, Jianyang, using local clay and glaze materials. They were wood-fired in dragon kilns stretching dozens of meters. Pieces from these kilns were mostly black glaze or Hare’s Fur; Partridge Feather and Oil Spot were rare, and Yohen were exceptionally precious accidents of nature.

Most Jian Zhan on the market today are made using mechanized molding and synthetic glazes, fired in electric or gas kilns. These are more affordable and widely available.

The traditional production process involves eight steps:

Clay Selection: Iron-rich local clay (7%–10% iron content) is used. When fired at about 1300°C, the body turns dark grey or brown, coarse-textured, thick, and hard—often called “iron body.”

PS：it is very important

According to China's national standard for "Geographical Indication Product: Jian Zhan," local iron-rich clay from Jianyang, Nanping, Fujian must be used as the primary raw material. Black-glazed tea bowls not made with Jianyang clay cannot strictly be called "Jian Zhan" and are considered imitations.

Jianyang clay contains 7%-10% iron, far higher than typical porcelain clay. When fired at around 1300°C in a reducing atmosphere, the iron oxide in the body is reduced, resulting in a dark gray or brownish-black, hard, and heavy texture known as "iron body." This "iron body" not only defines Jian Zhan's physical traits but also provides a dark backdrop that enhances the brilliance of the glaze patterns.

The glaze of Jian Zhan is also rich in iron. At high temperatures, the molten glaze releases iron, which becomes supersaturated. As the kiln cools slowly, the iron combines with silica to form various crystalline structures. Slight variations in temperature and atmosphere determine the patterns: elongated streaks create "Hare's Fur," droplet-like spots form "Oil Spot," and larger, iridescent patches approach "Yohen." In short, Jianyang clay is the essential source of iron—the key actor in this high-temperature crystallization process.

If non-local clay is used, the "iron body" cannot form—the base will appear pale or yellowish, losing Jian Zhan's characteristic dark tone. Glaze patterns will be faint or dull without sufficient iron, lacking depth and metallic luster. The finished product will feel lightweight and superficial, missing the rustic, profound elegance unique to authentic Jian Zhan.

Clay Preparation: Raw clay is washed, settled, and aged. Today, vacuum pugging mills are often used, eliminating the need for aging.

Forming: Two methods: hand-throwing on a wheel or mold-pressing. Hand-throwing is traditional; pressing is efficient and cost-effective.

Trimming: Leather-dry pieces are trimmed. Hand-thrown bowls are refined by experienced artisans; pressed bowls only require edge smoothing. Bases are often inscribed with the kiln or potter’s name.

Bisque Firing: Initial firing around 500°C strengthens the body and prevents cracking or glaze defects in high-fire.

Glazing: The glaze—1–3 mm thick—is applied by inner swirling and outer dipping. Traditional glaze is made from local mineral glaze stone mixed with plant ash. This natural glaze usually produces black or Hare’s Fur patterns; Oil Spot and Partridge Feather are rare, and Yohen is virtually unachievable.

Ps:It is very important
Many glazes today are chemically formulated. Some bright, colorful glazes contain heavy metals or lead, which can be harmful—avoid oversaturated or unnatural colors.

Because the glaze is thick and fluid, only the exterior upper half is glazed; the foot is left unglazed.

Firing: Glazed pieces are fired in saggars. Traditional wood-fired dragon kilns take 3–5 days firing plus cooling; electric kilns take 8–10 hours. Wood firing is more costly and labor-intensive.

Inspection: Finished pieces are examined. Defective ones are destroyed; perfect ones are graded and sold.

——How to Identify Quality Jian Zhan

A superior Jian Zhan tea bowl typically features clay and raw glaze from Shuiji Town, Jianyang District, hand-formed body, and dragon kiln wood firing. Such pieces are not only glazed with non-toxic materials but also handmade, offering both safety and artistic value.

For those seeking affordability, machine-made bowls with synthetic glaze from reputable manufacturers are a practical alternative. Opt for common glaze types and avoid overly complex patterns or colors to reduce the risk of harmful chemical content.

1. Shape

While broad or flared rims were popular in the Song Dynasty for tea competition, these designs dissipate heat quickly and are prone to spilling. For modern tea drinking, constricted or gathered-rim shapes are more practical—offering better stability and enhanced aroma retention.

It’s worth noting that shape does not determine quality; personal preference should guide your choice.

2. Clay and Glaze

Authentic Jian Zhan clay produces an iron-rich body , though other clays are also used. The glaze consists of three key components:

Glaze base: Primarily quartz, with feldspar, iron, and trace clay. High in silica, it forms the glassy foundation.

Colorant (iron oxide): The iron in the glaze minerals forms crystal patterns under high heat. Most commonly, these appear as flowing “hare’s fur” streaks; less often as “oil spots” or “partridge feathers.” Uniform black glaze results when no distinct patterns emerge.

Glaze Ore

Flux (plant ash): Lowers the melting point of quartz (normally 1750°C) to the firing range of 1300°C, allowing proper glaze fusion.

Synthetic glazes may use lead as a flux and heavy metals for color, achieving vivid effects at just 700–800°C. These are not recommended for regular use due to health risks.

Naturally glazed “oil spot” or “partridge feather” bowls are extremely rare—even large kilns yielding 100,000 pieces may produce few flawless examples. Top-grade natural versions have a success rate below one in a million, reflecting their high value.

Most common today are synthetic-glazed “oil spot” bowls, fired in electric kilns. These are generally safe, with mature recipes, and cost as little as around a few dozen yuan each wholesale in Jianyang.

Yohen Jian Zhan with natural glaze is nearly mythical. Most modern “yohen” or brightly colored “golden bowls” on the market employ heavy metals and should be avoided.

3. Workmanship

Handmade bodies often show distinct spiral marks from wheel throwing and trimming, especially on unglazed foot regions. Machine-made pieces may have faint traces limited to the foot.

As with any ceramic, flaws can occur: warping, cracked glaze, kiln adhesion, pinholes, underfiring, ash debris, dry mouth (unglazed rim), etc. Avoid such defects. Also note: Jian Zhan is black glaze—dramatic “kiln transformation” effects like Jun ware are atypical and usually indicate flaws.

——Benefits of Jian Zhan

The porous clay body of Jian Zhan tea bowls helps maintain tea temperature and absorbs calcium and magnesium ions, reducing water hardness and resulting in a softer, sweeter brew. Moreover, when tea is poured into the bowl, light refracts through the glaze patterns, creating a mesmerizing interplay of colors. This allows one to savor fine tea while appreciating the elegant beauty of the bowl.

——Care Instructions

Gentle daily use is the best maintenance. Avoid impacts, rinse after use, and store in a soft pouch when not in use or for transport.

Ultimately, Jian Zhan is a tea bowl. For true tea lovers, the quality of tea and water matters far more than the vessel. Focus on sourcing good tea and pure water rather than overemphasizing the cup.

Shuiji Town, Jianyang, Fujian: Home of Jian Zhan