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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
While we’ve discussed Song influence, let's focus on the specific ways that forms from the Song Dynasty were adapted into Ming ceramics. Ming potters often drew inspiration from classic Song forms, such as the "meiping" vase, "yuhuchun" vases and various types of bowls and dishes, often incorporating these into new and unique types of Ming ceramic pieces.
While we’ve touched on Islamic influence, it is worth focusing on the specific influence of Islamic calligraphy on Ming ceramics. The flowing lines, geometric patterns, and stylized forms of Islamic calligraphy sometimes appeared on Ming Dynasty pieces, and demonstrate the cross-cultural exchange of artistic techniques and design elements that was occurring during this period.
The Xuande period (1425-1435) is often considered a golden age in the history of Ming Dynasty ceramics, and the quality and innovative designs of pieces produced during this period remain highly valued by collectors and museums worldwide. The skill and innovation of the potters who were producing pieces during this era are clear in the beauty and quality of the pieces that were made.
While blue and white was dominant, it's worth examining the specific technical refinements in the use of underglaze blue during the Ming Dynasty. Ming potters built upon earlier techniques to achieve a higher level of precision, consistency, and a broader range of blue tones, and these technical innovations made for higher quality and more visually beautiful pieces.
While black glazes were used in earlier dynasties, Ming potters achieved a new level of technical mastery in producing deep, lustrous black glazes, often using these glazes to highlight specific forms and decorative elements. This shows that potters during the Ming era were still refining and innovating on previously existing techniques.