Longquan celadon is a glaze, not a graphic. For three centuries the kilns of Zhejiang stacked thick, iron-rich slips on a grey-white porcelaneous body and fired them in reduction until the surface pooled a pale, semi-opaque blue-green — kinuta's cool jade, meiziqing's deeper plum-green. The surface itself is the subject: soft, matte-to-satin, often laced with a fine ice-crackle network.

This system treats the page as a glazed plane. Backgrounds carry the dusty fenqing green; panels read like thicker pools of the same slip; type sits in quiet songti serifs and the occasional brushed ceramic mark. The single warm note is the unglazed foot-ring — the russet the iron body fires where the glaze pulls away — used sparingly as a grounding accent.