|
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. The use of pink and rose enamels in late Ming ceramics was often combined with other colors, such as green, yellow, and aubergine. The experimental nature of these pieces is clear in the blending of existing and newly developed colours. These early uses of pink and rose enamels, often applied as accents or highlights, demonstrate the continued experimentation and technical innovation of Ming potters. The stylistic explorations of the period that can be seen in these pieces are a key part of the overall progression of the ceramic arts from Ming to Qing. The study of late Ming pieces containing these colours helps to understand the overall trajectory of Chinese pottery design and its continual innovation and development over time. |
Tag : Ming Famille Rose, Chinese enamels, pink pottery, precursor styles, late Ming art
"Kraak" porcelain, a term derived from the Dutch word for a type of ship, refers to a specific style of late Ming blue and white porcelain that was produced specifically for export, and these pieces are an important example of the cross cultural exchange that occurred through trade and commerce.
Ming Dynasty monochrome glazes, including sacrificial red, celadon, yellow, and white, showcase the technical skill and aesthetic sensibility of potters through single-color applications, often used for ritual and imperial wares.
While we've discussed the literati, it's important to look at how their taste was specifically reflected in Ming ceramics. The refined tastes of the literati, the scholarly and artistic elite of the Ming Dynasty, continued to influence the development of certain types of ceramics, particularly those that emphasized elegance, simplicity, and a connection to nature. The preferences of the educated classes were often reflected in the design elements that were chosen by potters at this time.
While we’ve discussed the use of iron oxide, let’s examine the specific level of control that Ming potters achieved over this material. Ming potters gained an incredible amount of control over the use of iron oxide to achieve a variety of colors, tones, and textures in their glazes and underglaze decorations, demonstrating the high level of technical expertise that was common during this period.
We have touched on Daoist influence, but let's focus specifically on the representation of immortals in Ming Dynasty ceramics. The depiction of Daoist immortals, with their distinctive attributes and symbolic associations, provides insights into the spiritual and cultural beliefs of the time, and also demonstrates a key element in the religious landscape of Ming China.