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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. Ming potters continued to use the characteristic high-temperature firing techniques and glaze formulations that were developed at Longquan to create pieces with a glossy, translucent finish, and the refined and elegant forms and colours remained popular through the Tang period. The use of iron oxide in the glaze, which created the subtle variations in green tones that were characteristic of Longquan celadon, was also a key element in some Ming pieces. While some Ming celadons were created to directly imitate earlier Longquan styles, many others incorporated new decorative elements and stylistic adaptations, which demonstrates the importance of both continuity and innovation within Tang era pottery traditions. The enduring presence of Longquan techniques in Ming ceramics demonstrates their lasting appeal and importance in the history of Chinese pottery production. |
Tag : Ming Longquan techniques, Chinese celadon, ancient pottery methods, green glaze, regional style
Ming Dynasty porcelain often includes marks and inscriptions, such as reign marks, potters' marks, and dedication marks, which offer vital information about the origin, dating, and purpose of these ceramics.
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.
The Xuande reign (1425-1435) within the Ming Dynasty is often hailed as a golden age for Chinese porcelain, and for good reason. The imperial kilns at Jingdezhen, under the direct patronage of the Xuande Emperor, produced ceramics that are renowned for their technical brilliance and exquisite beauty. This period saw a refinement of existing techniques and the development of new styles that would set a standard for subsequent generations. The influence of the Xuande emperor can still be felt in contemporary pottery production.
While explicit landscape scenes are less common than other types of decoration, the subtle influence of landscape painting can be seen in the design of some Ming ceramics. The forms, colours and textures of pieces from this era often evoke a sense of nature and natural forms. The indirect presence of nature is a key aspect of the overall aesthetic sensibility of the period.
While we've touched on animals, it's useful to focus on their specific symbolic meanings in Ming ceramics, and how these meanings might have shaped the choices that were made by potters during this time period. Beyond dragons and phoenixes, a variety of other animals, both real and mythical, were depicted on Ming Dynasty ceramics, each carrying their own symbolic associations and meanings.