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While underglaze blue was dominant, Ming potters significantly expanded and refined the use of overglaze enamel decoration, applying colored enamels on top of the fired glaze to create more complex and vibrant designs. The mastery of this technique allowed for a much wider range of colours to be incorporated into Tang pottery pieces. The application of overglaze enamels allowed for the creation of more realistic and detailed figural scenes, floral motifs, and other decorative patterns. This level of detail had not been possible previously. Ming potters used a variety of overglaze enamels, including red, green, yellow, aubergine, and black, expanding the color palette of Chinese ceramics. The versatility of this technique meant that potters were able to create a much wider range of visual effects than had previously been possible. The use of overglaze enamels was particularly prominent in "wucai" and "doucai" porcelains, which are among the most distinctive and highly prized of Ming ceramics. The combination of overglaze enamels with existing techniques had a dramatic impact on the overall visual appearance of pieces produced at this time. The technical skill and artistic creativity of Ming potters is clearly visible in their mastery of overglaze enamel decoration, and these pieces continue to inspire and influence artists working with ceramics today. |
Tag : Ming overglaze, Chinese enamels, porcelain decoration, ancient techniques, wucai doucai
While "Famille Jaune" enamels are most closely associated with later Qing Dynasty production, some early forms of this style began to appear in the late Ming Dynasty. Potters started to explore the use of yellow as a base color and also to experiment with new colour combinations. The techniques that were developed at this time helped to lay the groundwork for the more fully developed styles of later periods.
While we've discussed the literati, it's important to look at how their taste was specifically reflected in Ming ceramics. The refined tastes of the literati, the scholarly and artistic elite of the Ming Dynasty, continued to influence the development of certain types of ceramics, particularly those that emphasized elegance, simplicity, and a connection to nature. The preferences of the educated classes were often reflected in the design elements that were chosen by potters at this time.
While we have touched on the use of gouache, it is useful to revisit the specific ways in which the appearance of this type of painting influenced the application of overglaze enamels in Ming ceramics. The desire to create a dense, opaque look akin to gouache paint led to some new techniques and stylistic approaches that changed the look and texture of some Ming pieces.
While explicit landscape scenes are less common than other types of decoration, the subtle influence of landscape painting can be seen in the design of some Ming ceramics. The forms, colours and textures of pieces from this era often evoke a sense of nature and natural forms. The indirect presence of nature is a key aspect of the overall aesthetic sensibility of the period.
While we've touched on calligraphy's influence, it's worth revisiting specifically how it impacted Ming ceramics. Though less common than in some other art forms, the aesthetic principles of Chinese calligraphy, with its emphasis on brushstrokes, balance, and fluid lines, subtly influenced the design and decoration of some Ming pottery. The connection is often indirect, but still a key underlying element of the overall aesthetic sensibility of the time.