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The period between the Xuande and Chenghua reigns (roughly 1436-1464), sometimes referred to as the "interregnum" or even as a “dark age”, is often seen as a decline in Ming porcelain production. However, this narrative is being increasingly challenged by scholars and recent discoveries. While production was certainly disrupted by political and economic factors, recent research suggests that this period should be viewed with a more nuanced perspective. While output might have been lower, many of the pieces made during this period show high levels of skill and artistry. The traditional view of this period suggests a lack of innovation and a decline in quality compared to the preceding Xuande reign. The political instability, and the subsequent focus on economic recovery rather than the arts, impacted production. However, recent evidence suggests that the kilns were still functioning, and high-quality pieces continued to be produced. The term "dark ages" is thus a misnomer. Some scholars now argue that the changes in design and decoration during this period were not necessarily indicative of a decline in quality but rather reflect a shift in artistic tastes. This period also saw the development of new forms and decorative motifs, albeit not on the grand scale of earlier reigns. The changes in this period are increasingly viewed as organic transitions rather than a decline. The so-called "interregnum" serves as a reminder that the history of Chinese ceramics is not a linear narrative of constant progress but rather a complex story of continuity and change, of rises and falls. Examining the ceramics from this period allows us to appreciate the dynamic nature of art and its response to historical events. These pieces are key to understanding the broader story of Ming ceramics. The ceramics from this period, though often overlooked in favor of the more celebrated earlier and later periods, deserve our attention for the beauty they hold and for what they teach us about the ongoing development of Ming porcelain. A better understanding of this period is leading to a re-evaluation of the accepted history. |
Tag : Ming Dynasty interregnum, Chenghua porcelain, Ming ceramics history, Chinese porcelain, “Dark Ages” Ming
While we touched on textures earlier, let's focus on textured glazes beyond monochrome applications. Ming potters experimented with a wide range of textured glazes, often in combination with multiple colours, creating a visually rich and dynamic surface that moved beyond the traditional approach to pottery design.
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.
While touched on earlier, it's useful to revisit specifically the enduring influence of popular culture in Ming Dynasty ceramics. While courtly art often emphasized restraint, Ming ceramics also reflected the tastes and preferences of a wider audience, often incorporating themes and motifs from everyday life and popular entertainment. These pieces demonstrate the way that art could be used to reflect everyday life and also a more widely accessible cultural vocabulary.
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 addressed Jingdezhen before, it is useful to revisit its significance as a global center during the Ming Dynasty. The kilns of Jingdezhen, as the most important site for ceramic production at this time, not only supplied pottery for domestic markets, but also for international trade as well, and its influence was felt throughout Asia, the Middle East, and Europe, and it remains the heart of Chinese pottery production even today.