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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
Jingdezhen was the pivotal center of Ming Dynasty ceramic production, hosting imperial kilns that attracted skilled artisans and oversaw meticulous production, significantly influencing ceramic art, technology, and innovation.
While we’ve touched on yellow, it’s useful to explore the technical aspects of creating high-quality yellow enamels on Ming Dynasty ceramics. The vibrant and consistent yellow glazes that were a hallmark of some Ming ceramics often required a specific combination of lead oxides, iron oxides, and other materials.
While we've discussed yellow glazes, it's worth revisiting the specific use of "imperial yellow," which is a distinct shade of yellow associated with the Ming court. This specific yellow was only used on pieces that were specifically intended for use by the emperor and his court and its use was tightly controlled, making it a highly significant color with deep political and symbolic importance.
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 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.