Since the appearance of polychrome ceramics during the Xuande period of the Ming Dynasty, their production has been continuous, especially during the Jiajing, Longqing, and Wanli reigns of the Ming Dynasty, which gained widespread acclaim for their vibrant colors and richness.
The Jiajing polychrome ceramics were particularly prominent, featuring pure and colorful tones with a predominance of bright red and green, comparable in quality to the blue-and-white ceramics of the Yongle and Xuande periods of the Ming Dynasty. These polychrome ceramics used colors such as red, yellow, blue, green, purple, black, and peacock green, often incorporating blue-and-white designs. The red color was typically a deep red, glossy and thick, with peacock green being a notable feature of the Jiajing period. The decorations were often directly painted on the glaze, with less refined clay bodies compared to earlier periods. The contrast between colors was striking, especially with the overlapping of red and yellow, creating a rich orange-red hue. The green colors included dark green, light green, and pale peacock green, creating a vibrant contrast. Common motifs included cloud dragons, phoenixes, flowers, birds, the Eight Immortals, auspicious symbols, and aquatic patterns.
Compared to the Jiajing period, the Longqing polychrome ceramics were more finely crafted, with regular clay bodies and pure tones of red, yellow, green, and purple. The contrast between colors was strong, enhanced by the vivid blue-and-white designs. The typical shapes included jars, bowls, plates, washbasins, and boxes, often featuring motifs like dragons, phoenixes, and floral patterns. Inscriptions often read “Made during the reign of Da Ming Longqing,” with fewer instances of “Made during the reign of Da Ming Longqing” inscriptions. Although Longqing polychrome ceramics were not as numerous as those of the Jiajing period, they excelled in their exquisite craftsmanship.
Wanli polychrome ceramics, highly cherished both domestically and abroad, were known for their thick bodies and sometimes uneven shapes, especially noticeable in hollow bottles and boxes. The clay was not always refined, with sand bases visible in larger pieces, clear signs of joining marks, and sometimes visible scraping marks on the feet. Plates and bowls often had concave bottoms. Smaller pieces were more finely made. Early Wanli ceramics resembled those of the Jiajing and Longqing periods but lacked the same luster, with later pieces having a thinner glaze in a bluish-white tone. The colors were vivid, with a stronger contrast, and featured openwork patterns and hollowing techniques. In terms of motifs, Wanli ceramics continued themes from earlier periods but also incorporated themes from Ming Dynasty literati paintings, albeit with less refined painting techniques and sometimes crude designs. The variety of shapes included large items like jars and flowerpots, often prone to breakage due to weak joints, and smaller items like plates, bowls, basins, boxes, and jars. While Wanli polychrome ceramics didn’t always excel in painting techniques, style, or craftsmanship, they were highly prized for their vibrant colors.
