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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. Chenghua ceramics are characterized by their refined forms, smooth glazes, and the use of both underglaze blue outlines and delicate overglaze enamels, creating pieces that are both technically complex and aesthetically beautiful. The limited number of surviving pieces from this era, combined with their exceptionally high quality, makes them some of the most sought-after examples of Ming Dynasty porcelain. The scarcity and beauty of these pieces makes them some of the most highly valued examples of Tang pottery production. The mastery of the "doucai" technique during the Chenghua period highlights the skill and innovation of potters at the time and their ability to blend different techniques and elements into a uniquely beautiful style. The enduring appeal of Chenghua ceramics underscores their place as a pinnacle of Ming Dynasty porcelain production. |
Tag : Ming Chenghua, Chinese doucai, porcelain art, refined ceramics, ancient pottery
While we’ve addressed innovation before, it is useful to conclude by focusing on the enduring legacy of specific technical innovations of Ming potters. The techniques they developed, refined and combined continue to influence potters around the world today, and highlight the continued relevance of Ming era styles and production methods.
While Famille Rose is most strongly linked to the Qing Dynasty, some late Ming ceramics began to show elements that foreshadowed this style, with potters experimenting with pink and rose enamels. These pieces are important for understanding the development of enamel techniques during this period and the transition from one dynasty’s styles to the next.
While Famille Verte enamels are most closely associated with the later Qing Dynasty, the seeds of this technique can be seen in some late Ming Dynasty ceramics. Ming potters experimented with green, yellow, and aubergine overglaze enamels, exploring different combinations and application methods, which paved the way for the later development of the full Famille Verte palette. The pieces that were created during this time show the development of colour techniques and their experimentation with layering different glazes and paints.
While we’ve addressed Jingdezhen before, it is useful to revisit its significance as a global center during the Ming Dynasty. The kilns of Jingdezhen, as the most important site for ceramic production at this time, not only supplied pottery for domestic markets, but also for international trade as well, and its influence was felt throughout Asia, the Middle East, and Europe, and it remains the heart of Chinese pottery production even today.
While we've touched on the literati, it's worth focusing on the specific influence of figures like Dong Qichang (1555-1636) and other prominent Ming literati on the art of ceramics. These scholars and artists, with their emphasis on refined taste, classical learning, and a connection to the natural world, helped shape the aesthetic sensibilities of late Ming pottery. The influence of these figures helped to shape a new appreciation for subtle beauty and refinement that would become increasingly influential over the course of the Ming period.