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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 Famille Verte enamels are most closely associated with the later Qing Dynasty, the seeds of this technique can be seen in some late Ming Dynasty ceramics. Ming potters experimented with green, yellow, and aubergine overglaze enamels, exploring different combinations and application methods, which paved the way for the later development of the full Famille Verte palette. The pieces that were created during this time show the development of colour techniques and their experimentation with layering different glazes and paints.
Early Ming blue and white porcelain (1368-1521) established the foundation for later ceramic innovation, showcasing refined cobalt underglaze techniques, bold designs, and diverse natural and symbolic motifs.
While we've touched on imperial influence, it's worth revisiting the specific impact of the Wanli Emperor (r. 1572-1620) on Ming ceramics. The Wanli period, which was one of the longest of the Ming Dynasty, saw a unique style of ceramic production that reflected the emperor’s personal tastes and the changing economic landscape of the time. The emperor’s preferences had a profound effect on the styles and production methods that were popular during this time period.
While we have touched on the use of gouache, it is useful to revisit the specific ways in which the appearance of this type of painting influenced the application of overglaze enamels in Ming ceramics. The desire to create a dense, opaque look akin to gouache paint led to some new techniques and stylistic approaches that changed the look and texture of some Ming pieces.
While red glazes had been used previously, Ming potters achieved a new level of intensity and brightness in the development of "coral red" glazes. The distinctive red tones and glossy surfaces are a key element of the overall beauty of the pieces that were decorated with this specific colour.