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We've discussed literati taste, but let's focus on the specific motifs associated with scholarly life that often appeared on Ming Dynasty ceramics. The inclusion of these elements demonstrates the ongoing respect for learning, intellectual pursuits, and the natural world that was central to scholarly thought at the time. Ming ceramics that depicted scholarly themes often included motifs such as bamboo, pine, plum blossoms, and calligraphy brushes, which all had symbolic meaning for members of the intellectual and artistic elite. The use of these images demonstrated a link between the everyday lives of scholars and the pottery pieces that they often used. These pieces also sometimes included depictions of scholarly pursuits, such as reading, writing, or playing the qin (a Chinese zither) which provided a window into the daily lives of scholars during the period. The use of refined forms, subtle glazes, and delicate details on these types of pieces often reflected the refined tastes and aesthetic preferences of scholars and members of the intellectual classes at this time. The recurring appearance of scholarly elements in Ming ceramics highlights the importance of intellectual life and traditional values during this period in Chinese history. |
Tag : Ming scholarly themes, Chinese pottery, intellectual symbols, ancient motifs, academic art
The period between the Xuande and Chenghua reigns (1436-1464), often called the "interregnum," is increasingly viewed with nuance, as recent research reveals continued high-quality production despite political and economic disruptions.
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 Blanc de Chine is most closely associated with later periods, the foundations for this type of white porcelain were laid during the late Ming Dynasty. Potters in Dehua, Fujian province, began to develop the unique clay bodies and techniques that would eventually give rise to the famous Blanc de Chine wares, and these early examples of white pottery production are an important part of the overall development of this particular style.
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.
While we touched on Lapis, let’s examine how it impacted blue applications on Ming ceramics. The desire to emulate the rich blue of Lapis Lazuli prompted Ming potters to push the boundaries of cobalt underglaze techniques, and to explore new methods of applying their blue glazes to achieve a depth and visual power that was similar to the natural gem.