Aesthetic appreciation of celadon porcelain derived from aesthetic culture and advancement in kiln technology. The aesthetic culture began with celadon of Yue Kiln in Tang dynasty. The earliest postulation of color was recorded in Lu Yu's The Classic of Tea in describing the color of green glaze as ＂surpassing the color of tea.＂ Later on, with the literatis' love of the green colors in mountains, forests, and lakes, Cui Se or emerald green color became the core aesthetic standard for celadon porcelain. Mi-se-ci porcelain from Yue Kilns embodied this trend. Furthermore, with the advancement of porcelain technology in Southern Song dynasty, Longquan Kilns improved the kiln environment, atmosphere, and ingredients of biscuit and glaze to produce an even more advanced celadon porcelain, which was pursued by all. In terms of aesthetic pursuit, however, expressive forms of celadon porcelain of Song dynasty were also influenced by the aesthetic theory of landscape painting in Song dynasty. Inspired by artists' analysis of the forms of nature, artisans had wider spectrum of observation and tried to capture the colors of nature through celadon porcelains in the Yue Kilns. This trend expanded to capturing details of plant kingdom in the Longquan Kilns. Artisans kept trying to represent the forms, textures, and qualities of various natural objects, creating a multi-layered aesthetics of emerald green color. In terms of a more intuitive experiences, the idea of emerald green color embodies the vitality of nature. It reflects the elevating experience and pursuit in literatis' life experience. The emerald green color is essential to the aesthetic pursuit in the traditional Chinese mind, making color an experience of life and an expression of inner spirit.