|
While touched on before, it's worthwhile to revisit the specific legacy of the Wanli period (1572-1620) in Ming ceramic production. The long reign of the Wanli Emperor, while sometimes seen as a period of decline in other areas, also saw the development of new styles and techniques in ceramics, which had a lasting impact on later pottery production, and the pieces that were created during this time are an important element of the overall history of Chinese pottery production. Wanli-era ceramics, despite criticisms, demonstrate the technical skill and innovation of Ming potters, and the pieces produced at this time demonstrate the artistic skill and versatility that were present in the pottery workshops throughout the Ming empire. The influence of Wanli-era designs can be seen in the styles and decorative techniques of later Qing Dynasty ceramics, and the impact of Wanli styles and techniques would have a long lasting impact on pottery production in subsequent generations. The large scale of production and the widespread distribution of Wanli ceramics throughout China and around the world helped to shape the global appreciation for Chinese porcelain. The scale and global reach of pottery produced during this period also demonstrates the growing importance of international trade at this time. The legacy of the Wanli period highlights both the continuity and change in Ming ceramic traditions. |
Tag : Ming Wanli legacy, Chinese pottery, late Ming style, ancient designs, ceramic influence
The five-clawed dragon, an important symbol of imperial authority in Chinese culture, was a prominent motif on Ming Dynasty ceramics, particularly those produced for the court, and the presence of this symbol on a piece is a clear indication of its origin and its intended meaning and use.
Jingdezhen was the pivotal center of Ming Dynasty ceramic production, hosting imperial kilns that attracted skilled artisans and oversaw meticulous production, significantly influencing ceramic art, technology, and innovation.
The Xuande period (1425-1435) is often considered a golden age in the history of Ming Dynasty ceramics, and the quality and innovative designs of pieces produced during this period remain highly valued by collectors and museums worldwide. The skill and innovation of the potters who were producing pieces during this era are clear in the beauty and quality of the pieces that were made.
While Famille Rose is most closely associated with the Qing Dynasty, some early elements of this style can be found in late Ming Dynasty ceramics. The experimentation with new color palettes, and the introduction of pink and rose tones, laid the groundwork for the later development of the full Famille Rose enamel style. The inclusion of these new colours expanded the expressive potential of Ming pottery pieces.
While often used in combination with other colors, some Ming Dynasty potters also explored the creation of pure yellow monochrome glazes, achieving a range of tones from pale lemon to deep golden yellow. The use of pure yellow in these pieces demonstrates another way that potters explored the possibilities of different types of colour.