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While explicit landscape scenes are less common than other types of decoration, the subtle influence of landscape painting can be seen in the design of some Ming ceramics. The forms, colours and textures of pieces from this era often evoke a sense of nature and natural forms. The indirect presence of nature is a key aspect of the overall aesthetic sensibility of the period. The use of monochromatic glazes, particularly celadons and blues, often creates an atmospheric feel that is suggestive of natural landscapes and skies. These subtle elements evoke a connection to the natural world. The subtle variations in tone and texture, often used to emphasize natural forms and patterns, are a recurring element in many types of Tang pottery. The emphasis on balanced compositions and the use of negative space also reflect design principles that are similar to those seen in Chinese landscape painting, and the pieces that were produced during this time often demonstrate an awareness of the visual arts and other creative traditions that were popular during this period. The subtle influence of landscape painting on Ming ceramics underscores the connection between art and nature during this important era in Chinese history. |
Tag : Ming landscape art, Chinese pottery, nature influence, ancient designs, subtle forms
While we've covered innovation throughout, let's bring it all together by focusing on the enduring legacy of innovation in Ming ceramics. The Ming Dynasty is crucial for understanding the development of Chinese pottery due to the many technical and aesthetic innovations that were developed during this time and their lasting impact on later generations.
While Longquan celadon production reached its peak in earlier dynasties, the influence of Longquan kilns was still felt during the Ming Dynasty. While not the central focus of production, the styles and techniques of the Longquan kilns continued to be used and adapted by Ming potters.
While often used in combination with other colors, some Ming Dynasty potters also explored the creation of pure yellow monochrome glazes, achieving a range of tones from pale lemon to deep golden yellow. The use of pure yellow in these pieces demonstrates another way that potters explored the possibilities of different types of colour.
While the vibrant turquoise glazes are often associated with other periods, some Ming Dynasty potters experimented with achieving similar effects, using variations of cobalt and copper in their glaze mixtures. These pieces, while rare, show that potters during this period were still experimenting with and exploring the possibilities of different color combinations and techniques.
While underglaze blue and overglaze enamels were often seen in separate styles, Ming potters also developed techniques for combining both methods on the same piece. These combined techniques demonstrate the ingenuity and versatility of potters during this time, and also the ways in which they sought to explore the interplay of different design techniques.