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【2】The Interregnum Period of Ming Blue-and-White Porcelain

 
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Tony SU
 Tony SU
(@tonysu2573)
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Joined: 21 hours ago
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Topic starter 16/11/2025 9:34 am  

 

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The Stylistic Evolution of Ming Blue-and-White Porcelain and the Unique Aesthetics of the “Interregnum Period”

Artistic Characteristics of Ming Blue-and-White Porcelain

Throughout roughly ninety percent of the Ming dynasty, blue-and-white porcelain consistently demonstrated distinct and recognizable artistic characteristics. During the Yongle and Xuande periods, the cobalt pigment produced rich, vivid tones, and the decorative motifs often displayed strong exotic influences. In contrast, the Chenghua and Hongzhi periods favored softer brushwork and more subdued coloration. By the Jiajing and Wanli periods, blue-and-white porcelain had absorbed strong religious elements, developing a purplish-blue hue and increasingly complex decorative patterns.

A Xuande-period blue-and-white stem bowl decorated with “waves and cloud-dragons,” now in the Palace Museum, is a representative masterpiece of this era. Its intense cobalt tone and dynamic dragon motifs exemplify the unique aesthetic of early Ming blue-and-white ware.

Similarly, a Chenghua-period blue-and-white stem bowl with “dragon-and-horse” design, also in the Palace Museum, illustrates the enduring appeal of blue-and-white porcelain. The differences between these two masterpieces, however, are not coincidental—rather, they arise primarily from variations in cobalt material and pigment composition.

Differences Between the Yongle–Xuande and Chenghua–Hongzhi Periods

The so-called “Interregnum Period” between the Yongle–Xuande and Chenghua–Hongzhi reigns presents unusually complex characteristics in blue-and-white porcelain. Political instability severely disrupted imperial kiln production, blurring the distinction between official and民kiln wares. As a result, porcelain from this period is scarce, inscriptions and reign marks are rare, and many uncertainties remain.

Nevertheless, careful observation of cobalt coloration and decorative motifs still allows us to tentatively differentiate pieces from this transitional era. The cobalt tone of interregnum wares is notably unstable—some resemble the vibrant coloration of Yongle–Xuande pieces, others lean toward the gentle hues of Chenghua ware, and some fall in-between, exhibiting greyish or bluish transitional tones.

Diversification of Cobalt Coloration

The cobalt coloration of interregnum blue-and-white porcelain displays significant diversity, ranging from rich and vivid to soft and pale, with motifs demonstrating considerable creativity. When broadly divided into three stages, the developmental pattern becomes clearer:
1. Stage One (Xuande period):
Imported cobalt remained available—though increasingly scarce—and could still meet production needs.
2. Stage Two:
As imported cobalt dwindled, artisans began mixing imported pigment with domestic tu liao (“local cobalt”), resulting in noticeable changes in coloration.
3. Stage Three:
Domestic cobalt became the sole pigment source. Due to its less satisfactory performance, artisans actively sought higher-quality alternatives, a pursuit that eventually led to the emergence of pingdeng qing (“equalized cobalt”).

Innovations in Blue-and-White Decorative Patterns

The decorative motifs of the interregnum period reveal a free and expressive style, including designs such as sea creatures and auspicious mythical beasts, reflecting a longing for peace and prosperity. Despite the turbulence of the Zhengtong, Jingtai, and Tianshun reigns, imperial kiln production did not cease entirely. In fact, court frugality and weakened supervision indirectly encouraged artistic innovation, giving rise to a graceful and spontaneous aesthetic.

Technical Characteristics of Blue-and-White Porcelain

During the Zhengtong, Jingtai, and Tianshun reigns, blue-and-white wares not only exhibited refined craftsmanship but also introduced new thematic content. Innovation appeared not only in increasingly complex patterns but also in cobalt coloration and artistic expression. Zhengtong blue-and-white pieces show traits reminiscent of late Xuande ware, while Tianshun wares appear closer to early Chenghua styles. Many pieces with cobalt tones intermediary between Xuande and Chenghua—but uniquely distinct—likely trace their origins to this interregnum period.

Porcelain Body and Manufacturing Techniques

Due to limitations in production quality, interregnum wares generally lack the refined workmanship seen in other periods. Their mouth rims are often uneven or slightly out-of-round, and the trimming of the footring is not always precise. Many jars and vases feature thick, shallow, broad footrings or slightly concave flat bases, while finely gritted footrings are relatively uncommon.


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