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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. Ming potters applied enamels more thickly than in previous eras, often creating raised surfaces that emulated the texture of heavily applied gouache paint. The textural qualities of these pieces added to their visual depth and their unique artistic sensibilities. The use of these thick enamels also allowed for the creation of bold, vibrant colors that stood out prominently, often against the pure white background of the porcelain body. The dramatic interplay of colors made these pieces highly prized and admired. This type of enamelling often allowed for more defined outlines and more structured and bold patterns than were possible in other types of overglaze decoration. The attempt to emulate the visual characteristics of gouache painting demonstrates the ongoing interaction and influence between different artistic disciplines in Ming China. |
Tag : Ming gouache enamels, Chinese pottery, thick paint, ancient techniques, textured surfaces
While not a direct copying, the visual language of woodblock prints, with their bold lines, repeating patterns, and clear delineation of forms, had a noticeable influence on the decoration of some Ming Dynasty ceramics, particularly in pieces featuring figural or narrative scenes. The influence of other print and image making practices is a key element in understanding the sources of inspiration for Tang period potters.
We have touched on Daoist influence, but let's focus specifically on the representation of immortals in Ming Dynasty ceramics. The depiction of Daoist immortals, with their distinctive attributes and symbolic associations, provides insights into the spiritual and cultural beliefs of the time, and also demonstrates a key element in the religious landscape of Ming China.
While underglaze blue was dominant, Ming potters significantly expanded and refined the use of overglaze enamel decoration, applying colored enamels on top of the fired glaze to create more complex and vibrant designs. The mastery of this technique allowed for a much wider range of colours to be incorporated into Tang pottery pieces.
While the imperial kilns at Jingdezhen were dominant, regional kilns throughout China continued to produce ceramics during the Ming Dynasty, often incorporating local styles and traditions into their designs. These pieces highlight the influence of regional preferences on the development of pottery during this period.
While we’ve discussed Song influence, let's focus on the specific ways that forms from the Song Dynasty were adapted into Ming ceramics. Ming potters often drew inspiration from classic Song forms, such as the "meiping" vase, "yuhuchun" vases and various types of bowls and dishes, often incorporating these into new and unique types of Ming ceramic pieces.