| Transcript |
- By analyzing their decorative style and production technique, it has been ascertained that they are largely datable to the late Ming period. Many Swatow type ceramics have been recovered from the Indonesian archipelago, where they were considered as heirlooms, which were sometimes placed in tombs. The possession of these imported ceramics gave social prestige. They were used for serving food in communal feasts and displayed on formal occasions, as well as being incorporated in a dowry. In the late 16th and 17th centuries, Chinese merchants sailed on junks following the long established trade routes of the South China Sea and brought Chinese ceramics, including the Swatow types to the Philippines and Indonesia. The sturdy pieces were excellent for the inter-island trade and some pieces even made it to the West on ships of the Dutch East India Company.
The Swatow wares include monochrome wares, slip wares, blue and white wares, a rare type which combines underglaze blue and overglaze polychrome decoration, and enam�elled wares. Our discussion of the wares here will focus only on the blue and white Swatow wares. Their period of production seems to be relatively long and extends from the late 16th century until the late 17th century. These blue and white wares can basically be divided into two groups. Group I consists of wares which were decorated by individual painters and show uniformity in style. The decoration is characterized by vigorous brushwork, and limited repertoire of motifs. Floral patterns predominate, but mythical animals, birds and figures are also featured. Group II consists of wares which lack uniformity and which seem to have been cooperatively painted by a group of decorators, each painter being assigned to a specific task. As a group these wares are united by the decorative themes and the way in which they were created. Most common are the large size plates, usually between 30 and 48 cm. in diameter, with a decorative rim, cavetto and large central scene. The decorative themes include phoenixes, pheasants, cranes, qilins, dragons, sages in landscapes and stylized floral patterns. Most common among the central decorations are ducks in a lotus pond, and deer in a park (figs. 60-64). The manner in which the rim is divided in panels or medallions and the type of decoration on some of the Swatow plates, is related to the kraak wares.
Transitional Wares
There was a notable absence of imperial patronage at the Jingdezhen kilns following the death of Wanli in 1620. The decline of the Ming dynasty had already begun, and by 1644 it was replaced by the alien Manchu Qing dynasty. Imperial patronage at the kilns was not re�established again until 1683. The porcelains produced during this period of economic and social disorder are known as the Transitional wares.
The lack of imperial patronage after Wanli�s death does not seem to have caused a major decline in ceramic production. On the contrary, porcelains for the domestic market were not only produced as before, but there was a wider range of new styles and shapes. With no more restrictions imposed by imperial standards at the kilns, the potters now had a relatively high degree of artistic freedom. A large number of private kilns produced wares for a variety of customers, resulting in a wide range of styles. Much of the decorative style seen on the Transitional wares owes its origins to ceramics of the Jiajing period, when a new and attractive style of drawing appeared on export pieces. This drawing style used fine outlines and graded washes.
Transitional blue and white wares are noted for their intrinsic beauty and can often be distinguished from earlier pieces by their robust potting, the careful finishing of the finely levigated paste, a brilliant hue, and the use of v-shaped strokes to indicate grass. The diminished imperial patronage allowed the creation of ceramics in accordance with the current scholarly tastes, and there was a sudden increase in experimentation with ceramic design and decoration. Perhaps the most striking innovative feature is seen in the shapes. These were often based on Ming proto-types, but with more simple and elegant contours. Brushpots, rolwagens, beaker vases and incense burners were manufactured in large
24
|
|---|
