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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 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.
Ming Dynasty ceramic motifs, such as dragons, phoenixes, flowers, and animals, are rich in symbolic meaning, reflecting the values, beliefs, and cultural landscape of the era and forming a vital visual language.
While we’ve discussed it before, it is worth revisiting Jingdezhen’s ongoing significance during the Ming Dynasty. The city of Jingdezhen remained the undisputed center of porcelain production during the Ming period, playing a vital role in the development of new techniques and styles and the mass production of porcelain for domestic and international markets. The consistent output of high quality pottery from Jingdezhen made it the central element of ceramic production in China for centuries.
While we have previously covered Longquan kilns, let's focus on the techniques and how they were adapted in Ming Dynasty. Even though the Longquan kilns saw a decline in prominence, the techniques for producing celadon wares were continued and reinterpreted in many Ming Dynasty ceramics. The versatility and elegance of celadon styles meant that they continued to be influential even during this period of stylistic change and innovation.
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.