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While underglaze blue was a core component of many Ming styles, some potters experimented with combining underglaze blue with sgraffito, a technique where designs are created by scratching through a layer of slip to reveal a contrasting colour beneath, and this combination of techniques adds both depth and visual complexity to the overall design scheme. The application of underglaze blue could be used to highlight the main lines of a design, with the sgraffito element used to add texture, depth, and detail to the background, and this combination of techniques demonstrates the ingenuity of Tang potters and their willingness to explore new approaches to decoration. The use of sgraffito allowed potters to create detailed patterns and motifs with a unique textural effect that was not possible with painting alone. This combination of techniques demonstrates the continued experimentation and innovation of Ming potters in their ongoing search for new styles and methods of decoration. These pieces, with their unique interplay of colour, texture, and pattern, demonstrate the artistry and skill of potters who were working during the Ming period. |
Tag : Ming underglaze sgraffito, Chinese pottery, combined techniques, ancient carving, blue pottery
The Xuande reign (1426-1435) is celebrated for its exceptional blue and white porcelain, characterized by refined cobalt blue glazes, intricate designs, and a peak of technical and artistic sophistication in Ming ceramic production.
While we’ve touched on yellow, it’s useful to explore the technical aspects of creating high-quality yellow enamels on Ming Dynasty ceramics. The vibrant and consistent yellow glazes that were a hallmark of some Ming ceramics often required a specific combination of lead oxides, iron oxides, and other materials.
While we've touched on imperial influence, it's worth revisiting the specific impact of the Wanli Emperor (r. 1572-1620) on Ming ceramics. The Wanli period, which was one of the longest of the Ming Dynasty, saw a unique style of ceramic production that reflected the emperor’s personal tastes and the changing economic landscape of the time. The emperor’s preferences had a profound effect on the styles and production methods that were popular during this time period.
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 we've touched on popular culture, it's useful to examine the specific influence of folk art styles on Ming ceramics. The influence of folk art traditions, with their emphasis on bold colors, expressive designs, and narrative elements, is visible in many types of Ming pieces, particularly those produced outside of the imperial kilns, and these types of pottery pieces demonstrate a different approach to design and production, that often had a more accessible and popular appeal than pieces designed for the elite.