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The practice of marking porcelain with inscriptions and reign marks became increasingly common during the Ming Dynasty. These marks provide valuable information about the dating, provenance, and purpose of specific pieces. Understanding these marks is essential for appreciating the full context of Ming ceramics. They serve as vital pieces of the puzzle for researchers. Reign marks, which typically include the emperor's reign name and the dynasty, were most commonly placed on the base of imperial wares. These marks were usually written in standard Chinese characters (kaishu). The style and placement of these marks can help determine the period of production and often the quality. They can be seen as a kind of timestamp. In addition to reign marks, potters' marks, workshop marks, and inscriptions denoting the use or dedication of a piece can also be found. These inscriptions add depth to the history of the object and offer unique insights into its creation. They offer clues about the people who made them and the patrons who used them. The study of these marks requires a level of familiarity with Chinese calligraphy and the subtle variations that occurred over time. Expertise in this area is crucial for the accurate dating and attribution of Ming pieces. Experts will understand not just the meaning of the marks but also the subtleties of the way they were applied. The marks and inscriptions on Ming porcelain are not merely decorative but rather serve as a record of history. They connect us to the time and place in which these objects were created and also connect us to the people who designed and used them. The continued study of marks and inscriptions is vital for the ongoing research of Ming Dynasty ceramics. They offer key insights that continue to inform our understanding of the production and usage of these pieces. They are a vital part of the historical record. |
Tag : Ming porcelain marks, Reign marks, Chinese inscriptions, Pottery marks, Authentication of 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 Ming Dynasty is famous for its polychrome wares, potters also continued to explore and refine the production of monochrome glazed ceramics, and these pieces highlight a different approach to design, often focusing on form and subtle tonal variations.
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.
Auspicious motifs, which convey messages of good fortune, happiness, and prosperity, were a key element of decorative design on Ming Dynasty ceramics. The incorporation of these symbols reflects the importance of tradition and cultural values, and also helps to understand the cultural meanings that were embedded into these types of pieces.
While we’ve addressed Jingdezhen before, it is useful to revisit its significance as a global center during the Ming Dynasty. The kilns of Jingdezhen, as the most important site for ceramic production at this time, not only supplied pottery for domestic markets, but also for international trade as well, and its influence was felt throughout Asia, the Middle East, and Europe, and it remains the heart of Chinese pottery production even today.