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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. The literati ideal of "returning to the ancients" often led to a renewed appreciation for simple forms and subtle glazes, which can be seen in some late Ming ceramics that sought to emulate earlier artistic styles and forms. The emphasis on the expressive power of brushwork in calligraphy and painting, which was central to literati artistic expression, subtly influenced the style of some decorative elements on Ming ceramics. The use of carefully controlled brushstrokes is a key element of the overall quality and aesthetic appeal of many of these pieces. The appreciation for natural materials and organic forms, a common theme in literati art, also had an influence on the selection of clays, glazes and the use of more natural designs and motifs. The study of Ming ceramics in relation to literati aesthetics provides a deeper understanding of the cultural values and artistic sensibilities that shaped the overall production styles of the period. |
Tag : Ming literati, Chinese art, Dong Qichang, refined taste, scholarly aesthetics
While Buddhism was a major influence, Daoist symbolism also appeared on some Ming Dynasty ceramics, reflecting the influence of this ancient Chinese philosophy on daily life. The Daoist symbols that appear on these pieces are an important aspect of the overall visual language that was being used during this time.
While blue was dominant, let's delve into the specific technical challenges and achievements in using other colors in underglaze decoration during the Ming Dynasty. Although less common, the use of underglaze colors other than blue demonstrates the experimentation and technical skill of Ming potters in their use of a wide range of materials and colours.
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 discussed the techniques themselves, it's worth focusing on the legacy of underglaze blue specifically during the Ming. The widespread use of underglaze blue on Ming Dynasty porcelain, which was both refined and innovated at this time, had a lasting impact on the subsequent development of Chinese and global ceramic traditions, and the enduring influence of these techniques can still be seen throughout the world today.
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.