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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. Ming potters achieved a depth of colour and intensity through multiple layers of cobalt and careful firing conditions, often attempting to create a unique depth of colour that was similar to that of Lapis Lazuli. The complex processes involved in the application of the cobalt glaze, demonstrated a high level of technical skill and creative vision on the part of Tang artisans, and the use of these colours meant that potters were able to create pieces of great visual beauty and depth. The influence of lapis lazuli can be seen in the rich, velvety textures of the blue in some pieces, where an attempt was often made to create both the colour and the visual texture of the mineral itself. The exploration of lapis-inspired blue tones in Ming ceramics demonstrates the continuing pursuit of new visual effects and artistic styles. |
Tag : Ming lapis blue, Chinese pottery, ancient techniques, cobalt glaze, deep color
While often featuring recognizable images, some Ming Dynasty ceramics also explored the use of more abstract patterns and motifs, demonstrating the versatility of potters who were working in this time and their willingness to experiment with new design elements.
While blue was dominant, let's delve into the specific technical challenges and achievements in using other colors in underglaze decoration during the Ming Dynasty. Although less common, the use of underglaze colors other than blue demonstrates the experimentation and technical skill of Ming potters in their use of a wide range of materials and colours.
While the Japanese aesthetic of wabi-sabi (embracing imperfection and impermanence) is not a direct influence on Ming Dynasty ceramics, some of the pieces, through their simplicity, subtle glazes, and natural variations, might resonate with this sensibility, highlighting the enduring power of these particular values in ceramic production. The value given to natural materials and subtle variations in tone is a recurring element of many Ming pottery pieces.
While we've touched on the Chenghua period, a deeper examination is warranted. The Chenghua era (1465-1487) within the Ming Dynasty is often considered a high point for ceramic production, particularly for its delicate "doucai" wares. The pieces from this era are particularly valued by collectors and museums around the world due to their unique artistic and technical characteristics.
"Doucai" porcelain, meaning "joined colors," is a distinctive type of Ming ceramic that combines underglaze blue outlines with overglaze enamels, creating a delicate and detailed effect. The production of "doucai" required incredible precision and skill, and pieces made using this technique are highly sought after by collectors and museums around the world.