The Popularity of Colors and Auspicious Symbols
The Sung dynasty emphasis on minimalism and the intricate witnessed a great change by the late Ming period.
During the middle and late Ming dynasty, the colorfully novel and effervescent "tou-ts'ai" and "wu-ts'ai" forms of porcelain decoration developed from the Yüan dynasty foundation of underglaze blue wares. Vessels also grew larger in size and cobalt produced a more vibrant blue, contrasting with the darker, colder shade of the early Ming. Low-temperature glazes were used and decoration was plentiful, creating a truly exciting and lively visual effect against the white background glaze. Such pieces represented some of the preferences of Ming taste.
The love of color was not limited to the decoration of ceramics. In addition to red, the palette of carved lacquer expanded to yellow, green, and even multi-colored. During the mid-Ming, enamelware became more readily available to the general public. Enamelware became increasingly popular in the middle Ming, reaching a peak in the late Ming. Colorful pieces of enamelware became an important part of the collection of ritual items at the imperial court. A variety of Western elements also found their way into the Chinese artistic vernacular.
Apart from the dragon design representing the imperial family, decorative motifs also included symbols for good fortune, prosperity, and longevity. Equally prevalent was the practice of directly inscribing quotes onto vessels that pray for blessings. The popularity of designs such as the Eight Treasures, Eight Auspicious Symbols, Eight Divinatory Symbols, "ling-chih" spirit fungii, Eight Immortals, crane, lion, fish and water plants, and images of children playing (laden with allusions to Chinese history and mythology), combined with the abundance of colors and superior artistic expression, demonstrate the ideological foci of people at the time. For example, images related to auspiciousness often represent a play on words, such as that for "deer" in Chinese being a homonym for "official rank".
Be it an auspicious symbol or multi-colored presentation, arts and crafts of the period were firmly rooted in a cultural profundity that had accumulated over time. Responding to the demands and preferences of the market, an animated and exquisite taste emerged.
The Scholarly Appreciation for and Collection of Antiques
Scholar-officials are guides to culture. However, the path to officialdom in the late Ming became increasingly blocked for scholars, and the political turbulence at the time also produced many who chose a life of reclusion or distance from the court, making for a group of figures who had a major influence on society. They focused on literature, the arts, and the pleasures of life. With many students, they also mingled among newly risen classes in society and merchant gentlemen. In the flourishing economy of the period, they helped form a new cultural trend.
Scholars revered classical civilization, considering antique objects to be symbols of cultivation and learning of the highest order. They believed that by studying and appreciating these antiquities, they would be able to become steeped in the didactic culture of the past. Almost everyone from the emperor down to merchants were inspired by scholars to imitate this lofty lifestyle, resulting in a new urban trend of collecting antiques in the hopes of demonstrating one's cultural refinement. Collectors consulted the scholars' expertise on connoisseurship and opened their collections to them for study. Printing also became increasingly accessible, with books such as "K'ao-ku t'u (Illustrated Antiquities)" and "Hsüan-ho po-ku t'u (Illustrated Hsüan-ho Antiquities)" even falling into the hands of the general public. In order to satiate the mounting demand for ancient works of art, craftsmen were impelled to produce delicately styled goods that imitate the styles of antiques. Collectors, as investors, assumed the role of patrons for talented artisans and promoted further the improvement of their work. The financial power bestowed upon the industry stimulated pivotal developments in the creation and production of refined arts and crafts.
|
|
|
Yellow-ground square basin with overglaze green decoration of phoenixes Porcelain
Ming dynasty, Chia-ching period, 1522-1566 |
|
FIowerpot in the shape of a dragon-fish Jade
Ming dynasty, 16th-17th century |
|
|
Independent Craftsmen and the Public in a Flourishing Economy
With changes in consumer culture, merchants were able to increase their profits. Also, as the number of officials, scholars, and ordinary folk engaged in business increased, merchants saw their status in society rise. At the same time, artisans with scholar status and points of view became increasingly common in the late Ming. Craftsmen with their ample experience produced exquisite works of art that catered to scholarly taste, with some scholars even providing the designs. The result was a form of interaction, in which skilled artisans received the praise of scholars, thereby elevating their renown and allowing them to command high prices and even compete on equal terms with the gentry. Scholars provided craftsmen with new ideas, and artisans helped direct scholarly taste, the end result being decorative motifs associated with painting and calligraphy. Literati helped direct and design objects for the studio, sometimes even taking part in production. The cooperation and ties between the two raised the status of workmen and gained them respect. From each major production center emerged professionals of renown. The specialization reached a level close to the modern concept of establishing a unique brand--craftsmanship became superb and artisans received well-deserved attention and rightful compensation, even to the point where they could take part in civil service examinations, enter officialdom, and become outstanding members of society.
The porcelain market flourished as demand by the imperial court and foreign markets escalated, resulting in private kilns being delegated by the court to produce most official wares in later periods of the Ming dynasty. With rising commercialization of products in the economy, artisans from official kilns could pay their way out of working for the imperial court. While official kilns went into decline, superior craftsmen trickled into local kilns, injecting new life and potential into the ceramics industry. With rapid developments in the middle and late Ming, production rose and porcelains were exported in increasing number. Private kilns expanded, and the famed Ching-te-chen kiln, with its expertise dating back to the Five Dynasties period, helped the porcelain industry of the late Ming reach new heights, not only competing with official wares, but sometimes even exceeding them in quality.
|
|
|
Brush pot with rendition of a scene from
"The West Chamber", mark of Chu San-
sung Bamboo
Ming dynasty, 17th century |
|
Yellow censer in the shape of a ting, mark of Chou Tan-chüan
Ming dynasty, 17th century |
|
|
