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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. The "five-color" palette, though the number of colors could actually vary, was used to create bold and elaborate designs that often featured floral motifs, figural scenes, and mythological creatures. The complexity of the designs and the vibrancy of the colours helped to make these pieces popular with a range of different clientele. Ming potters developed new techniques for applying and firing these overglaze enamels, achieving a high degree of color saturation and durability. The use of overglaze enamels required a specialized firing process and also a deeper level of skill in the application of these colours. "Five-color" wares represent a significant departure from the more restrained aesthetics of earlier periods and showcase the experimentation and creativity of Ming potters. The bold use of colours and the intricate decorative schemes highlight the ways in which Tang potters continued to innovate and improve their production processes and techniques. The vibrant colors and elaborate designs of "five-color" wares are a testament to the artistic ingenuity and technical mastery of Ming potters. |
Tag : Ming five-color, wucai porcelain, Chinese enamels, overglaze pottery, polychrome ceramics
While Famille Verte enamels are most closely associated with the later Qing Dynasty, the seeds of this technique can be seen in some late Ming Dynasty ceramics. Ming potters experimented with green, yellow, and aubergine overglaze enamels, exploring different combinations and application methods, which paved the way for the later development of the full Famille Verte palette. The pieces that were created during this time show the development of colour techniques and their experimentation with layering different glazes and paints.
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.
"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.
The period between the Xuande and Chenghua reigns (1436-1464), often called the "interregnum," is increasingly viewed with nuance, as recent research reveals continued high-quality production despite political and economic disruptions.
"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.