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"Doucai" porcelain, meaning "joined colors," is a distinctive type of Ming ceramic that combines underglaze blue outlines with overglaze enamels, creating a delicate and detailed effect. The production of "doucai" required incredible precision and skill, and pieces made using this technique are highly sought after by collectors and museums around the world. The "doucai" technique was developed during the Chenghua period (1465-1487), and the refined and delicate pieces that were produced during this time are some of the most sought after of Ming Dynasty ceramics. The subtle interplay between the underglaze blue outlines and the overglaze enamels creates a sense of depth and visual complexity, and this balance of colours is a key part of the overall aesthetic of these pieces. The creation of "doucai" porcelain required a high degree of technical skill, and the combination of underglaze blue and overglaze enamels is especially difficult to achieve. The delicate beauty and technical mastery of "doucai" porcelain make it a highly prized and distinct category of Ming ceramics, and its enduring popularity is a testament to the skill and dedication of potters during this period. |
Tag : Ming doucai, Chinese porcelain, joined colors, underglaze blue, overglaze enamels
Ming Dynasty ceramics are highly valued by collectors and museums for their historical significance, artistic beauty, and technical mastery, requiring detailed knowledge for informed collecting and continued appreciation in the modern world.
While cobalt blue was dominant, Ming Dynasty potters also explored and refined the use of iron-red glazes. These glazes, characterized by their warm reddish-brown tones and smooth, often glossy surfaces, became an important element in both the decorative and symbolic vocabulary of Ming pottery production. The use of these types of colours is a testament to the technical skill and artistic sensibility of potters during this era.
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 black glazes were used in earlier dynasties, Ming potters achieved a new level of technical mastery in producing deep, lustrous black glazes, often using these glazes to highlight specific forms and decorative elements. This shows that potters during the Ming era were still refining and innovating on previously existing techniques.
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.