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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 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 blue and white dominated, the Ming Dynasty also saw the development and refinement of "five-color" wares (wucai), which employed a range of vibrant overglaze enamels, including red, green, yellow, and aubergine, often used in combination with underglaze blue. These pieces demonstrate a more colourful and decorative style of pottery production that became increasingly popular during this period.
While black glazes were used in earlier dynasties, Ming potters achieved a new level of technical mastery in producing deep, lustrous black glazes, often using these glazes to highlight specific forms and decorative elements. This shows that potters during the Ming era were still refining and innovating on previously existing techniques.
The later Ming Dynasty (1522-1644) saw significant diversity in ceramic production, with new colors, glazes, and techniques introduced, alongside a thriving export trade and varied decorative styles reflecting changing tastes.
While we've touched on the Chenghua period, a deeper examination is warranted. The Chenghua era (1465-1487) within the Ming Dynasty is often considered a high point for ceramic production, particularly for its delicate "doucai" wares. The pieces from this era are particularly valued by collectors and museums around the world due to their unique artistic and technical characteristics.