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The period between the Xuande and Chenghua reigns (roughly 1436-1464), sometimes referred to as the "interregnum" or even as a “dark age”, is often seen as a decline in Ming porcelain production. However, this narrative is being increasingly challenged by scholars and recent discoveries. While production was certainly disrupted by political and economic factors, recent research suggests that this period should be viewed with a more nuanced perspective. While output might have been lower, many of the pieces made during this period show high levels of skill and artistry. The traditional view of this period suggests a lack of innovation and a decline in quality compared to the preceding Xuande reign. The political instability, and the subsequent focus on economic recovery rather than the arts, impacted production. However, recent evidence suggests that the kilns were still functioning, and high-quality pieces continued to be produced. The term "dark ages" is thus a misnomer. Some scholars now argue that the changes in design and decoration during this period were not necessarily indicative of a decline in quality but rather reflect a shift in artistic tastes. This period also saw the development of new forms and decorative motifs, albeit not on the grand scale of earlier reigns. The changes in this period are increasingly viewed as organic transitions rather than a decline. The so-called "interregnum" serves as a reminder that the history of Chinese ceramics is not a linear narrative of constant progress but rather a complex story of continuity and change, of rises and falls. Examining the ceramics from this period allows us to appreciate the dynamic nature of art and its response to historical events. These pieces are key to understanding the broader story of Ming ceramics. The ceramics from this period, though often overlooked in favor of the more celebrated earlier and later periods, deserve our attention for the beauty they hold and for what they teach us about the ongoing development of Ming porcelain. A better understanding of this period is leading to a re-evaluation of the accepted history. |
Tag : Ming Dynasty interregnum, Chenghua porcelain, Ming ceramics history, Chinese porcelain, “Dark Ages” Ming
While blue and white dominated, the Ming Dynasty also saw the development and refinement of "five-color" wares (wucai), which employed a range of vibrant overglaze enamels, including red, green, yellow, and aubergine, often used in combination with underglaze blue. These pieces demonstrate a more colourful and decorative style of pottery production that became increasingly popular during this period.
While the production of Jian ware declined in earlier periods, its aesthetic influence and functional qualities continued to be appreciated and, sometimes, adapted in Ming Dynasty ceramics, particularly in tea bowls. These types of pieces continued to be prized by tea enthusiasts, which demonstrates the enduring importance and impact of these forms, even centuries after their first production.
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.
While Famille Rose is most strongly linked to the Qing Dynasty, some late Ming ceramics began to show elements that foreshadowed this style, with potters experimenting with pink and rose enamels. These pieces are important for understanding the development of enamel techniques during this period and the transition from one dynasty’s styles to the next.
While often used in combination with other colors, some Ming Dynasty potters also explored the creation of pure yellow monochrome glazes, achieving a range of tones from pale lemon to deep golden yellow. The use of pure yellow in these pieces demonstrates another way that potters explored the possibilities of different types of colour.