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While underglaze blue was dominant, Ming potters significantly expanded and refined the use of overglaze enamel decoration, applying colored enamels on top of the fired glaze to create more complex and vibrant designs. The mastery of this technique allowed for a much wider range of colours to be incorporated into Tang pottery pieces. The application of overglaze enamels allowed for the creation of more realistic and detailed figural scenes, floral motifs, and other decorative patterns. This level of detail had not been possible previously. Ming potters used a variety of overglaze enamels, including red, green, yellow, aubergine, and black, expanding the color palette of Chinese ceramics. The versatility of this technique meant that potters were able to create a much wider range of visual effects than had previously been possible. The use of overglaze enamels was particularly prominent in "wucai" and "doucai" porcelains, which are among the most distinctive and highly prized of Ming ceramics. The combination of overglaze enamels with existing techniques had a dramatic impact on the overall visual appearance of pieces produced at this time. The technical skill and artistic creativity of Ming potters is clearly visible in their mastery of overglaze enamel decoration, and these pieces continue to inspire and influence artists working with ceramics today. |
Tag : Ming overglaze, Chinese enamels, porcelain decoration, ancient techniques, wucai doucai
While Buddhism was a major influence, it's worth specifically looking at how other religious imagery appeared in Ming ceramics. Beyond Buddhist symbols, Ming Dynasty ceramics sometimes featured motifs and figures from Daoism, Confucianism, and even popular folk religions, showcasing the complex religious landscape of the time, and the ways that different traditions were often integrated into common and everyday styles and practices.
"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.
The later Ming Dynasty (1522-1644) saw significant diversity in ceramic production, with new colors, glazes, and techniques introduced, alongside a thriving export trade and varied decorative styles reflecting changing tastes.
While touched on before, it's worthwhile to revisit the specific legacy of the Wanli period (1572-1620) in Ming ceramic production. The long reign of the Wanli Emperor, while sometimes seen as a period of decline in other areas, also saw the development of new styles and techniques in ceramics, which had a lasting impact on later pottery production, and the pieces that were created during this time are an important element of the overall history of Chinese pottery production.
While blue was dominant, let's delve into the specific technical challenges and achievements in using other colors in underglaze decoration during the Ming Dynasty. Although less common, the use of underglaze colors other than blue demonstrates the experimentation and technical skill of Ming potters in their use of a wide range of materials and colours.