The Jiajing period was an important period in the history of the development of Ming Dynasty and even Chinese ideology and culture. During this period, the idea of individual liberation was all the rage, gradually moving from the philosophical field to the aesthetic field. As the supreme ruler at that time, the Jiajing Emperor was a relatively unique aesthetic subject.
Jiajing Emperor (1522–1566)
The Jiajing Emperor inherited the unification as the king of the domain, and his original status and life background made him different from other emperors of the Ming Dynasty, and also formed his more special political concepts and aesthetic pursuits. At the same time, the ancients highly respected the idea of "carrying the tao with utensils", and the imperial kiln porcelain, as a kiln fired by the imperial court, was widely used in imperial court sacrifices and emperor play or daily use.
Ming Jiajing's multicolored porcelain is often decorated with painted tree trunks coiled into the words "Fu", "Shou", "Kang", "Ning" and so on, which can be described as a feature, and such themes are closely related to the Jiajing Emperor's belief in Taoism.
The Jiajing Emperor believed in Taoism, so a large number of themes related to immortality appeared on the porcelain of Jiajing official kilns, such as Lingzhi, Bagua, Ying Luo, Eight Immortals, Yunhe and so on.
Jiajing multicolored utensils have plates, bowls, cups, boxes, bottles, cans and so on. There are goblets, square cups, round cups, and knight cups. The box has a box with a horn. Bottles have gourd bottles. The jars have square lid jars, melon ridge jars, flat cans, and round cans. There are also furnaces, cylinders, vases, etc. The process of these square products is complex and the firing is more difficult, so although the production of square utensils in the Jiajing period is not very regular, there is a phenomenon of clamping flat and warping, but it also shows the more mature production process of the Jiajing Dynasty.
Jiajing large instrument because of the poor molding process, so the carcass is relatively thick, often there is a phenomenon of improper correction, the glaze is not very fine. However, the production of official kilns and small utensils is still very delicate, and the tires are thin and light. The porcelain is firm and fine. The glaze is thick and thin, generally official kiln ware and folk kiln small pieces of fine products, the glaze is very fine, green and white, yellow white or off-white.
Colorful is one of the most famous varieties in Jiajing. Although the preciousness of Jiajing glaze color cannot be compared with Xuande Wucai and Chenghua Doucai, it is unprecedented in terms of its variety and the development of folk kiln color porcelain production.
- Five
color
Porcelain-
Jiajing multicolored fish algae pattern lid jar
It is hidden in the Palace Museum
Multicolored phoenixes wear floral plum vases
Multicolored Reishi peach tree pattern plate
Doucai Reishi pattern plate
Multicolored high-foot bowl
Multicolored plum vase with tangled branches
Hidden in the Palace Museum
Ming Jiajing multicolored square disk
Ming Jiajing Colorful square lid jar
Jiajing multicolored fish algae diagram bowl
Multicolored dragon and phoenix pattern bowl
Multicolored cloud dragon pattern bowl
Jiajing multicolored baby drama picture square bucket cup
Imperial kiln porcelain carries many of the emperor's governing philosophies and personal hobbies, which can reflect the emperor's aesthetics. The Jiajing Emperor reigned for a long time and fired a large number of imperial kiln porcelain. Many scholars believe that its blue and white, five-colored and other porcelain occupies an important place in the Ming Dynasty imperial kiln porcelain, and became a representative of the late Ming Dynasty imperial kiln porcelain.
Jiajing Imperial Kiln porcelain as a whole is richly decorated and dazzling. Numerous auspicious and harmonious decorative ornaments and even texts and various intricate patterns give people a sense of chaos, and their secularization tendencies are undoubtedly revealed. Confucius once proposed, "Quality is better than literature is wild, and quality is better than history." Polite and then gentlemanly".
-Blue
flower
The blue and white porcelain of the Jiajing Dynasty (1522-1566 AD) in the late Ming Dynasty made remarkable achievements in the history of porcelain making. With its bright and colorful hue, rugged shape, and the large number of firings, it has emerged in the history of ceramic craftsmanship.
Jiajing blue and white ornamentation - the ornament is mostly double hook flat coating, good color filling is exquisite, does not flow outward in the wheel hemp line, and the poor process has an outflow phenomenon. The painting style is elegant and natural, and it is more freehand. In addition, under the influence of the spirit of the times, especially the Jiajing Emperor himself, Taoism, porcelain also reflects the content of Taoism, such as the Eight Immortals, Eight Treasures, Bagua, Ruyi, Lao Tzu Sermons, Lingzhi Holding Bagua, Tangled Lotus Lotus Bagua, and Cloud Crane and other motifs. In the ornamentation, it also shows the pursuit of mascots such as "auspicious blessings", such as Ganoderma lucidum, Rui beast Xianglin, Fushou Kangning, Shoushan Fuhai, and Tuanshou or "Fu" characters. As for the dragon pattern, it tends to be more delicate. The evolution of the Qinghua painting style in the Ming Dynasty generally developed from cumbersome to sparse, and then from Liulang to cumbersome. Jiajing's picture has tended to be rich and complex, and although the brush is clear, it is weak and lacks a sense of layering.
The main reasons for the development of the process of Jiajing blue and white porcelain: the development of the commodity economy in the middle and late Ming Dynasty; the civil kiln and the official kiln go hand in hand, and the folk kiln technology is active; the needs of foreign markets; the amount of porcelain collected by the imperial court has increased greatly, and the royal kiln factory has assigned some porcelain to the folk kiln to carry out "official and civil burning", and the official kiln and the folk kiln promote each other and innovate technology.
Blue and white cloud dragon pattern "Shou" word lid jar
Jiajing blue and white phoenix pattern live ring ear bottle
Jiajing blue and white tangled lotus double dragon pattern pot
Jiajing blue and white cloud dragon pattern gourd bottle
Blue and white shiba peach crane charm pattern plate
Jiajing blue and white cloud dragon pattern lid pot
The blue-and-white dragon wears a large plate of tangled lotus patterns
Jiajing blue and white "shou" word wrapped around the branch double phoenix pattern bowl
Ming Jiajing Blue and White Haiyou Performing Arts Picture Plate
Source: China Guardian
Jiajing blue and white cloud dragon pattern high foot bowl
Jiajing blue and white seawater double dragon pattern cup
Jiajing blue and white cloud dragon pattern square lid jar
Jiajing blue and white cloud dragon pattern plate
The profound changes in the economic and political fields of the Jiajing period were also accompanied by changes in the ideological and cultural fields. During this period, a number of extremely important figures were active in the history of Chinese thought. They actively promote their views and propositions, arguing against conservative forces. Along with the rise of civic consciousness, these ideas, together with the citizens, set off a trend of ideological emancipation.
Although the Jiajing period has been more than 400 years now, Jiajing royal kiln porcelain still has a certain status and influence in the history of ceramics. When the Ming Dynasty scholar Tian Yiheng mentioned the imperial kiln porcelain in the "Liuqing Rizha", he believed that "Jiajing can also be observed".
The Qing Dynasty scholar Wang Tang proposed in the Zhixin Record that the Huiqing of Jiajing and Wanli were especially Youjing. Liang Tongshu of the Qing Dynasty also specifically discussed the Jiajing kiln in the "Examination of Ancient Kiln Instruments", proposing that it was a return to Qingsheng and that youjing was lovely. In addition, the Jiajing Emperor was valued by the world through the use of altar utensils. In the Qing Dynasty, Ye Mengzhu even proposed in the "Reading Of the World" that only the Yongle kiln and the Jiajing kiln were the most beautiful porcelain.