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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. The literati preference for understated beauty and natural forms can be seen in some Ming monochromes, porcelains, and those that featured simple designs that are reminiscent of classical painting and poetry. The subtle and restrained decorative elements that were often found on pieces from this era were an important element of the overall aesthetic appeal of these types of pieces. The emphasis on craftsmanship, intellectual engagement, and artistic skill that was central to literati culture also influenced the way that pottery was valued and appreciated during this time. The influence of literati taste on Ming ceramics highlights the complex interplay of art, culture, and intellectual values during the Ming Dynasty and its lasting legacy. |
Tag : Ming literati taste, Chinese scholarly art, refined pottery, simple forms, elegant designs
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.
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.
While we've discussed black glazes, let's examine the specific use of black as a background in Ming ceramics. This technique, where black was used as a backdrop to highlight other colors or decorative elements, was a popular approach to design during this period, and it shows the ways that colour could be used to highlight certain parts of a piece of pottery while also creating a dramatic and striking visual impact.
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 we have touched on geometric patterns, let's focus on the significance of geometric designs in Ming ceramics beyond the creation of simple repeating patterns. Yuan potters often incorporated geometric designs to create structure, balance, and a sense of order within their decorative schemes and the use of these types of patterns often served to complement and also to highlight the overall design choices of any given piece.