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"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. The "doucai" technique was developed during the Chenghua period (1465-1487), and the refined and delicate pieces that were produced during this time are some of the most sought after of Ming Dynasty ceramics. The subtle interplay between the underglaze blue outlines and the overglaze enamels creates a sense of depth and visual complexity, and this balance of colours is a key part of the overall aesthetic of these pieces. The creation of "doucai" porcelain required a high degree of technical skill, and the combination of underglaze blue and overglaze enamels is especially difficult to achieve. The delicate beauty and technical mastery of "doucai" porcelain make it a highly prized and distinct category of Ming ceramics, and its enduring popularity is a testament to the skill and dedication of potters during this period. |
Tag : Ming doucai, Chinese porcelain, joined colors, underglaze blue, overglaze enamels
While blue and white was dominant, it's worth examining the specific technical refinements in the use of underglaze blue during the Ming Dynasty. Ming potters built upon earlier techniques to achieve a higher level of precision, consistency, and a broader range of blue tones, and these technical innovations made for higher quality and more visually beautiful pieces.
While underglaze blue was a core component of many Ming styles, some potters experimented with combining underglaze blue with sgraffito, a technique where designs are created by scratching through a layer of slip to reveal a contrasting colour beneath, and this combination of techniques adds both depth and visual complexity to the overall design scheme.
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.
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 we have previously covered Longquan kilns, let's focus on the techniques and how they were adapted in Ming Dynasty. Even though the Longquan kilns saw a decline in prominence, the techniques for producing celadon wares were continued and reinterpreted in many Ming Dynasty ceramics. The versatility and elegance of celadon styles meant that they continued to be influential even during this period of stylistic change and innovation.