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The later Ming Dynasty (1522-1644), covering the Jiajing, Longqing, and Wanli reigns, witnessed a period of significant experimentation and diversity in ceramic production. While the blue and white tradition continued, potters explored new colors, glazes, and decorative techniques. This resulted in a wide range of stylistic variations that reflect the evolving aesthetic tastes of the time. The later Ming saw a proliferation of different ceramic styles. The Jiajing period (1522-1566) is particularly noted for its use of vibrant colors, such as bright yellows, turquoise, and purples. This was a reaction against the more understated colors of the preceding Chenghua reign. The Jiajing era pushed the boundaries of ceramic design. The Wanli period (1573-1620) saw the introduction of new decorative techniques, such as the use of colored enamels on the biscuit. The era is characterized by a high level of decorative complexity and use of various techniques. The period is notable for its exuberance of design. Export porcelain also played an increasingly important role during the later Ming period. These pieces were often produced for overseas markets, particularly in Southeast Asia and Europe. This interaction resulted in the development of some hybrid designs that fused Chinese and foreign aesthetics. The diversity of later Ming porcelain underscores the dynamic nature of Chinese ceramic art and the adaptability of its artisans. This period also lays the groundwork for the artistic output of the Qing dynasty. The innovation and experimentation of the period demonstrates the incredible creative spirit of the Ming. |
Tag : Later Ming porcelain, Jiajing porcelain, Wanli porcelain, Ming Dynasty ceramics, Chinese export ware
We've touched on coral red, but it's worthwhile to delve into the specific technical details of how Ming potters achieved this particular hue. The creation of a rich, vibrant coral red glaze required very precise and complex control of firing conditions, pigment composition and the application of glazes.
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.
While cobalt blue was dominant, Ming Dynasty potters also explored and refined the use of iron-red glazes. These glazes, characterized by their warm reddish-brown tones and smooth, often glossy surfaces, became an important element in both the decorative and symbolic vocabulary of Ming pottery production. The use of these types of colours is a testament to the technical skill and artistic sensibility of potters during this era.
"Swatow" ware, a term referring to a type of late Ming ceramic produced for export, particularly to Southeast Asia, is characterized by its bold, often roughly painted designs, its thick glazes, and its robust forms, and these pieces often have a more rustic appearance than some of the more delicate and refined pieces that were made during this era.
While we’ve discussed the use of iron oxide, let’s examine the specific level of control that Ming potters achieved over this material. Ming potters gained an incredible amount of control over the use of iron oxide to achieve a variety of colors, tones, and textures in their glazes and underglaze decorations, demonstrating the high level of technical expertise that was common during this period.