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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. Daoist symbols, such as the yin-yang symbol, clouds, mountains, and various plants and animals that are associated with longevity and spiritual power were often used in the decorative motifs of the time, often with great skill and detail. The subtle inclusion of these symbols reflected the influence of Daoist ideals and the desire to live in harmony with the natural world, and this philosophical element of Daoism is a recurring element in Ming artistic expression. The representation of Daoist immortals and other figures from Daoist mythology on some Yuan ceramics further highlights the blending of religious and artistic traditions at this time. The study of Daoist symbols in Ming ceramics underscores the complex interplay of philosophical, artistic, and religious beliefs in Chinese culture. |
Tag : Ming Daoist symbolism, Chinese pottery, ancient beliefs, religious motifs, spiritual art
While we've discussed black glazes, let's examine the specific use of black as a background in Ming ceramics. This technique, where black was used as a backdrop to highlight other colors or decorative elements, was a popular approach to design during this period, and it shows the ways that colour could be used to highlight certain parts of a piece of pottery while also creating a dramatic and striking visual impact.
While we’ve discussed monochrome glazes, it’s worth revisiting them focusing on the textured effects that Ming potters sometimes achieved. Beyond simply color, they explored techniques to create visually and tactilely interesting surfaces with a single glaze color, demonstrating the importance of texture as another key element in artistic design.
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.
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.
While emperors are often credited with shaping artistic tastes, it's important to acknowledge the influence of powerful court eunuchs during the Ming Dynasty on ceramic production. These figures, often close to the imperial family, could wield significant power and influence, and their preferences sometimes shaped the types of pieces that were created during this period.