Yuan qun kilns were fired during the Yuan dynasty in China. The clay is also coarser and more common, but the most striking feature is the glaze. In other words, the glaze of the Sung kun kilns is always smooth, even, and of a considerable thickness, with the exception of a very thin transparent part, which is highly opaque and translucent, and lacks luster. In contrast, Yuan dynasty glazes are not only less uniform, but also more transparent and shiny than those of the Sung and Equilibrium kilns. In contrast, Yuan dynasty glazes are not only less even, but also more transparent and shiny than those of the Sung and Equatorial kilns. Unlike the Sung and Chun glazes, the thickness of the glaze on the clay is not uniform, and it often ends in an irregular line on the upper half of the vessel, forming thick drip beads on this line. In addition, there are often small holes in the homogeneous glaze, but these holes are relatively small and completely on the surface in Sung kyun ware, while in Yuan kyun ware they are relatively large and deep, and often exist throughout the entire surface of the glaze. In Yuan kilns, however, many of these bubbles are relatively large and deep, and they are present throughout the entire glaze. In addition, the presence or absence and type of sesamu patterns are said to differ between the two kilns. As the name suggests, yuanqun kilns were produced in Yuan Dynasty China, but there is another type called yuanzai, which can be easily confused and difficult to distinguish. (Ozaki Awamori)
