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While we've touched on the literati, it's worth focusing on the specific influence of figures like Dong Qichang (1555-1636) and other prominent Ming literati on the art of ceramics. These scholars and artists, with their emphasis on refined taste, classical learning, and a connection to the natural world, helped shape the aesthetic sensibilities of late Ming pottery. The influence of these figures helped to shape a new appreciation for subtle beauty and refinement that would become increasingly influential over the course of the Ming period. The literati ideal of "returning to the ancients" often led to a renewed appreciation for simple forms and subtle glazes, which can be seen in some late Ming ceramics that sought to emulate earlier artistic styles and forms. The emphasis on the expressive power of brushwork in calligraphy and painting, which was central to literati artistic expression, subtly influenced the style of some decorative elements on Ming ceramics. The use of carefully controlled brushstrokes is a key element of the overall quality and aesthetic appeal of many of these pieces. The appreciation for natural materials and organic forms, a common theme in literati art, also had an influence on the selection of clays, glazes and the use of more natural designs and motifs. The study of Ming ceramics in relation to literati aesthetics provides a deeper understanding of the cultural values and artistic sensibilities that shaped the overall production styles of the period. |
Tag : Ming literati, Chinese art, Dong Qichang, refined taste, scholarly aesthetics
We've touched on coral red, but it's worthwhile to delve into the specific technical details of how Ming potters achieved this particular hue. The creation of a rich, vibrant coral red glaze required very precise and complex control of firing conditions, pigment composition and the application of glazes.
While we’ve touched on yellow, it’s useful to explore the technical aspects of creating high-quality yellow enamels on Ming Dynasty ceramics. The vibrant and consistent yellow glazes that were a hallmark of some Ming ceramics often required a specific combination of lead oxides, iron oxides, and other materials.
"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.
While iron-red and black are more common, Ming Dynasty potters also explored the use of iron to create a variety of brown glazes, ranging from light tan to deep, almost chocolate brown tones. These variations in tone were the result of different firing conditions and glaze application techniques. The pieces made with these techniques often demonstrate the versatility of the materials that were used during the Ming period.
While we've discussed yellow glazes, it's worth revisiting the specific use of "imperial yellow," which is a distinct shade of yellow associated with the Ming court. This specific yellow was only used on pieces that were specifically intended for use by the emperor and his court and its use was tightly controlled, making it a highly significant color with deep political and symbolic importance.