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While "Famille Noire" is most closely associated with the Qing Dynasty, some early influences of this style, which features a black enamel background that sets off other overglaze colors, can be seen in some late Ming Dynasty ceramics. These pieces are a testament to the experimental nature of pottery production during this time period and its influence on the styles and techniques that would emerge in later eras. Late Ming potters began to experiment with using a black enamel as a background for other decorative elements, creating a more dramatic and visually striking appearance than was common in earlier styles. These pieces often featured a limited palette of colors, including green, yellow, and white, to stand out against the dark black background, creating a powerful visual contrast. The experimentation with black enamel backdrops in the late Ming laid the groundwork for the fully developed Famille Noire style that became so popular in the Qing Dynasty, and the pieces that were produced at this time are an important element in understanding the overall development of Chinese pottery techniques. The use of these black enamel backgrounds demonstrates the continued exploration of new possibilities and new expressive forms in Ming Dynasty ceramics. |
Tag : Ming Famille Noire, Chinese pottery, black enamel, ancient techniques, overglaze patterns
While Blanc de Chine is most closely associated with later periods, the foundations for this type of white porcelain were laid during the late Ming Dynasty. Potters in Dehua, Fujian province, began to develop the unique clay bodies and techniques that would eventually give rise to the famous Blanc de Chine wares, and these early examples of white pottery production are an important part of the overall development of this particular style.
The Yongle Emperor (r. 1402-1424) was a significant patron of the arts, and his reign saw a flourishing of ceramic production, particularly at the imperial kilns in Jingdezhen. The emperor’s patronage was vital to the growth and development of the pottery industry at this time.
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.
While the imperial kilns at Jingdezhen were dominant, regional kilns throughout China continued to produce ceramics during the Ming Dynasty, often incorporating local styles and traditions into their designs. These pieces highlight the influence of regional preferences on the development of pottery during this period.
"Swatow" ware, a term referring to a type of late Ming ceramic produced for export, particularly to Southeast Asia, is characterized by its bold, often roughly painted designs, its thick glazes, and its robust forms, and these pieces often have a more rustic appearance than some of the more delicate and refined pieces that were made during this era.