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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. Ming potters applied enamels more thickly than in previous eras, often creating raised surfaces that emulated the texture of heavily applied gouache paint. The textural qualities of these pieces added to their visual depth and their unique artistic sensibilities. The use of these thick enamels also allowed for the creation of bold, vibrant colors that stood out prominently, often against the pure white background of the porcelain body. The dramatic interplay of colors made these pieces highly prized and admired. This type of enamelling often allowed for more defined outlines and more structured and bold patterns than were possible in other types of overglaze decoration. The attempt to emulate the visual characteristics of gouache painting demonstrates the ongoing interaction and influence between different artistic disciplines in Ming China. |
Tag : Ming gouache enamels, Chinese pottery, thick paint, ancient techniques, textured surfaces
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.
We have touched on Daoist influence, but let's focus specifically on the representation of immortals in Ming Dynasty ceramics. The depiction of Daoist immortals, with their distinctive attributes and symbolic associations, provides insights into the spiritual and cultural beliefs of the time, and also demonstrates a key element in the religious landscape of Ming China.
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 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 we've touched on animals, it's useful to focus on their specific symbolic meanings in Ming ceramics, and how these meanings might have shaped the choices that were made by potters during this time period. Beyond dragons and phoenixes, a variety of other animals, both real and mythical, were depicted on Ming Dynasty ceramics, each carrying their own symbolic associations and meanings.