Introduction This study presents a comprehensive classification of Chinese porcelain from the Tang dynasty to the Republic period, dividing each historical stage into three artistic levels: upper tier (benchmark), high tier, and typical tier. The classification integrates historical context, artistic assessment, and advanced diagnostic criteria, providing collectors, museums, and scholars with practical tools for evaluation and authentication. Special emphasis is placed on benchmark works documented in DOI-archived research by Professor Nona Dronova, serving as a reference for the highest artistic and technical achievements of each period. 1. Tang Dynasty (618–907) — Sancai Technique **Upper tier**: DOI: 10.5281/zenodo.16752624 — Large amphora (height: 40 cm) with relief female figures and dragon-shaped handles. A rare large format for sancai, featuring the uncommon use of cobalt blue combined with yellow and green glazes, and high-quality sculptural relief. Technology: multi-layer application of lead glazes with localized color overlays, without uncontrolled running.**High tier**: Relief sancai vessels without cobalt or with simpler composition.**Typical tier**: Mass-produced burial vessels with shallow relief and basic tricolor application.**Diagnostics**: Under microscope: Pb–Si phase separation with large crystallization zones; cobalt present as dense granules within glaze matrix. Fracture shows porous buff body.**Recommendation**: Collectible value increases with rare colors (cobalt) and large formats. 2. Northern Song (960–1127) — Ru Ware **Upper tier**: DOI: 10.5281/zenodo.16732395 — Bluish-grey glaze with rich optical depth and soft glow, dense fine crackle, thin buff-grey body with excellent firing density.**High tier**: Correct glaze color and crackle but less depth.**Typical tier**: Later copies with simplified crackle and flat glaze tone.**Diagnostics**: Under microscope: micro-zones of phase separation, 'milky' streaks in glaze.**Recommendation**: Always inspect at an angle to detect optical depth and color vibrancy. 3. Southern Song (1127–1279) — Guan Ware **Upper tier**: DOI: 10.5281/zenodo.16782627, 10.5281/zenodo.16738473, 10.5281/zenodo.16628967, 10.5281/zenodo.16617765 — Dense dark-grey body, thick multi-layer glaze with both large and small crackle. Evaluated according to the artistic value scale and aesthetic criteria developed by Professor Dronova.**High tier**: Double crackle but less complex glaze structure.**Typical tier**: Artificial crackle without optical depth.**Diagnostics**: Pb–Si phase separation zones, fine crack veins with infill.**Recommendation**: Authentic Guan ware always has a deep, soft surface and dual-level crackle. 4. Ming — Xuande (1426–1435) — Sacrificial Vessels **Upper tier**: Benchmark: large ritual vessels in red, blue, and yellow sacrificial glazes. Yellow glaze: PbO ~45–50%, Fe₂O₃ ~4–5%, light iridescence.**High tier**: Correct form and color but less pure iridescence.**Typical tier**: Later copies with flat color and no natural glow.**Diagnostics**: Microscope: Pb–Si phase separation, crystallization zones, microbubbles with iridescent skin. 5. Ming — Chenghua (1465–1487) **Upper tier**: DOI: 10.5281/zenodo.16781910, 10.5281/zenodo.16740088 — Doucai with underglaze cobalt painting and overglaze enamels; yellow sacrificial vessels with PbO >45%, iridescence.**High tier**: Fine painting and correct glaze composition but less complex color integration.**Typical tier**: Commercial copies with enamel sitting on top rather than fused with underglaze layer.**Diagnostics**: Pb–Si phase separation, pigment segregation in cobalt, microbubbles with iridescent skin. 6. Qing — Kangxi (1662–1722) **Upper tier**: Langyao hong — copper-red glaze with natural gradient, famille verte with detailed painting.**High tier**: Correct color but less depth.**Typical tier**: Flat color, mechanical ornament.**Diagnostics**: Microbubbles with thin iridescent skin in red glaze, pigment crystals in green. 7. Qing — Yongzheng (1723–1735) **Upper tier**: Clair de lune, peachbloom, robin’s egg, sacrificial red, tea dust, pine needle glazes.**High tier**: Correct color without complex texture.**Typical tier**: Monotone imitation without layering.**Diagnostics**: Multi-layered glazes with transparent interlayers, irregular color zones. 8. Qing — Qianlong (1736–1795) **Upper tier**: Famille rose, falangcai, carved overlay with multiple firings.**High tier**: Fewer colors, less transparent layers.**Typical tier**: Flat colors without optical depth.**Diagnostics**: Each color forms a distinct layer with its own bubble structure. 9. After Qianlong Simplification of technology, mass production. Museums often collect such pieces only to complete chronological displays rather than for artistic merit. 10. Republic Period (1912–1949) **Upper tier**: Author’s studio works with free brush technique, poetic inscriptions, and small series.**High tier**: Good painting but more conventional composition.**Typical tier**: Copies of imperial styles without originality.**Recommendation**: Collect for individual artistry rather than imitation of earlier works. Conclusion This classification offers a structured methodology for assessing Chinese porcelain across major historical periods. By defining three artistic levels and integrating both visual and microscopic diagnostics, it provides an objective framework for authentication and valuation. DOI-referenced benchmark pieces serve as definitive guides, ensuring that upper-tier examples are grounded in verifiable scholarship. Keywords English: Chinese porcelain, Tang dynasty sancai, Northern Song Ru ware, Southern Song Guan ware, Ming dynasty Xuande sacrificial wares, Ming dynasty Chenghua doucai, yellow sacrificial glaze, Qing dynasty Kangxi Langyao hong, Yongzheng monochromes, Qianlong famille rose, carved overlay, tea dust glaze, pine needle glaze, cobalt blue, lead-silica glaze phase separation, optical depth, crackle glaze, ceramic diagnostics, artistic level classification, museum authentication, DOI reference objects, Nona Dronova.Chinese (中文): 中国瓷器, 唐代三彩, 北宋汝窑, 南宋官窑, 明代宣德祭器, 明代成化斗彩, 成化黄釉祭器, 清代康熙郎窑红, 雍正单色釉, 乾隆粉彩, 剔雕套色, 茶叶末釉, 松针釉, 钴蓝, 铅硅釉相分离, 光学深度, 开片釉, 瓷器鉴定, 艺术等级分类, 博物馆鉴定, DOI参考器物, 娜塔·德罗诺娃. References Kerr, Rose. Song Dynasty Ceramics. V&A Publications. Medley, Margaret. The Chinese Potter. Oxford University Press. Valenstein, Suzanne. A Handbook of Chinese Ceramics. The Metropolitan Museum of Art. DOI: 10.5281/zenodo.16752624 DOI: 10.5281/zenodo.16732395 DOI: 10.5281/zenodo.16782627 DOI: 10.5281/zenodo.16738473 DOI: 10.5281/zenodo.16628967 DOI: 10.5281/zenodo.16617765 DOI: 10.5281/zenodo.16781910 DOI: 10.5281/zenodo.16740088