Ming Porcelain - A Golden Age of Ceramics
A journey through the golden age of Chinese ceramics (1368-1644) showcasing the Salar Jung Museum's collection.
Golden age of porcelain
Ming porcelain, renowned for its exquisite craftsmanship, brilliant designs, and cultural significance, emerged during the Ming dynasty (1368–1644) in China. This period is often regarded as a golden age for Chinese ceramic art.
A royal favourite
Fired at high temperatures from kaolin and petuntse. Ming porcelain became a prized export. European royalty coveted this 'china,' making it a symbol of wealth and status.
Artisans’ forte
Skilled artisans employed advanced techniques, such as underglaze painting (applying designs under a clear glaze) and overglaze painting (decorating over the glaze). The most iconic style was blue-and-white porcelain.
Design palette
Ming porcelain often featured intricate designs, including floral motifs, landscapes, animals, mythical creatures, and calligraphy. The designs were not just decorative but also reflected cultural, religious, and symbolic meanings.
Early Ming period (1368–1424)
The Imperial kilns in Jingdezhen, Jiangxi province, became the main production centre for Ming porcelain. Jingdezhen is still known as the Porcelain Capital. The use of imported cobalt (from Persia) for underglaze blue decoration flourished.
Hongwu's reign
During Hongwu period (1368-98) blue and white continued to be produced during the Hongwu period for the imperial palace. An interesting development of Hongwu period was large number of wares with underglaze copper red decoration being produced.
White glazes
During the Yongle reign (1403-23), reign marks on vessels began. The Emperor favored white wares, leading to the production of a refined white glaze called 'tianbai'. These were mainly for Buddhist rituals. The Ming court traded porcelain, spreading its influence across Asia.
Middle Ming Period (1425–1522)
Hongxi (1425), Xuande (1426-35) Periods - New colours and techniques emerged, such as doucai (contrasting colours) and wucai (five-colour porcelain). The Xuande Emperor was a major patron of porcelain production. The variety of motifs was numerous.
Late Ming Period (1523–1644)
Jiajing (1522-66) period, an imported cobalt called hui qing was mixed with local cobalt to produce a distinctive violet blue. Imperial porcelain produced during the short Longqing (1567-72) period was of a relatively small amount and consisted of mainly blue and whites.
Wanli's reign(1573-1620) and later
During Wanli Emperor’s reign, the types of porcelains produced were a continuation of the Jiajing period. One category of underglaze blue and overglaze enamelled wares commonly called Qinghua Wucai stood out. The colour tone of the enamels is strong with generous use of iron red.
End of an era
The Taichang (r.1620) Tianqi (r. 1621-27) and Chongzhen (r. 1628-44) periods - after the death of Wanli, the demand for porcelain for the imperial palace was small. The country was plagued by civil rebellions and threats from the Manchus.
Cultural significance
Ming porcelain represented Chinese aesthetic ideals and craftsmanship. It was also a major vehicle for cultural exchange. Ming porcelain remains highly collectible and is studied by historians, archaeologists, and art enthusiasts worldwide.
Ming porcelain at the museum
Explore the Salar Jung Museum's diverse collection of Ming dynasty porcelain, including blue and white jars, figures, and plates. A journey through a golden age of Chinese ceramics awaits!
Jar (1368/1644)Salar Jung Museum
Jar
White decoration on blue background jar with branches of flowers and berries in white.
Buddha (1601/1699)Salar Jung Museum
Standing Buddha
A crackled porcelain figure of the standing Buddha in white which was made at the time of Emperor Jiajing ofMing dynasty (1522-66) in the year 1556 A.D. The Buddha is depicted with folded hands and a rosary in the 'anjali' mudra, which is a gesture of respect and devotion.
Plate (1572/1620)Salar Jung Museum
Dragon plate
This exquisite porcelain plate features a vibrant dragon design painted in five colours during the reign of Emperor Wanli (1573-1620).
Goblet (1575/1599)Salar Jung Museum
Eight-sided goblet
This late 16th-century Chinese goblet, from Jingdezhen, features floral panels and blue decorative designs. A testament to skilled craftsmanship.
Goblet (1500/1599)Salar Jung Museum
Goblet
A 16th-century Chinese goblet from Jingdezhen. Its six panels showcase floral motifs in a striking blue. A piece of imperial craftsmanship.
Jar (1368/1644)Salar Jung Museum
Jar
This square blue jar showcases delicate landscape paintings on all four sides, a hallmark of Ming dynasty artistry.
Jar (1368/1644)Salar Jung Museum
Jar
A 16th-century Jingdezhen jar, adorned with delicate blue floral designs in six vertical panels and leafy motifs at the base.
Jar (1368/1644)Salar Jung Museum
Jar
A square jar, adorned with vibrant blue and white landscapes on all four sides. A testament to Ming dynasty artistry.
Plate (1368/1644)Salar Jung Museum
Plate
A porcelain plate depicting elderly men and boys holding a scroll. A glimpse into Ming dynasty life and artistry.
Celadon jar (1368/1644)Salar Jung Museum
Celadon jar
A turquoise celadon jar, its handles adorned with birds and leaves in delicate relief.
Celadon vase (1368/1644)Salar Jung Museum
Celadon vase
A graceful celadon vase, its handles and rings a soft grass green. The delicate translucence enhances its beauty.
Celadon dish (1368/1644)Salar Jung Museum
Celadon dish
This elegant celadon dish features two handles and a delicate creeper design. A beautiful example of Ming craftsmanship.
Jar (1368/1644)Salar Jung Museum
Griffin Jar
This large jar boasts a vibrant blue and white design. A griffin sits atop the lid, surrounded by floral and avian motifs painted in circular and fan shapes.
Celadon vase (1368/1644)Salar Jung Museum
Celadon vase
A crackled celadon vase, adorned with leaves and flowers cascading down its elegant form.
Jar (1368/1644)Salar Jung Museum
Jar
A large blue and white Chinese jar depicting hundreds of deer in a forest. Floral details and geometric designs complete this piece from Jingdezhen.
Jar (1368/1644)Salar Jung Museum
Jar
This Chinese jar features the Eight Immortals of Taoism in relief, with a seated devotee on the lid. A beautiful example of intricate craftsmanship.
Jar (1368/1644)Salar Jung Museum
Jar
A Chinese jar, adorned with floral panels, geometric designs, and kylins, a mythical creature around the rim.
Vase (1368/1644)Salar Jung Museum
Vase
Octagonal shaped porcelain vase painted in blue and white to represent flying birds, branches with flowers and leaves all over.
Jar (1368/1644)Salar Jung Museum
Jar
A porcelain jar depicting women and children in an enclosed garden space under a tree. The scene is painted onto the jar's surface.
Plate (1368/1644)Salar Jung Museum
Flamingo plate
A large blue and white porcelain plate. It features flamingos under a tree, with floral designs around the rim.
Plate (1368/1644)Salar Jung Museum
Plate
A blue and white kraak porcelain plate, painted with birds amidst foliage and fruit. Crafted at Jingdezhen's Royal factory.
Kettle (1368/1644)Salar Jung Museum
Kettle
A porcelain tea kettle, vibrantly painted with figures and foliage. Note the oversized spout and cane handle.
Vase (1368/1644)Salar Jung Museum
Vase
This maroon-glazed vase showcases the beauty of crackled china, a testament to time and artistic skill. Its deep color is captivating.
Jar (1368/1644)Salar Jung Museum
Jar
A crackled porcelain jar from Zhengzhou city factory, Henan province, North-Central China; featuring two dragons and leaf designs in vibrant blue.
Text and Curation: Soma Ghosh
Photography: M. Krishnamurthy and Bahadur Ali
Research Assistance: Dinesh Singh and E. Rajesh
Special thanks to : Shri Ashish Goyal, IIS, Director, Salar Jung Museum, Hyderabad, India.
Dr. G. Kusum, Curator, Salar Jung Museum, Hyderabad, India.
References –
1. https://gotheborg.com/qa/ming_porcelain.shtml (accessed on 17.01.2025)
2. Daisy, Lion Goldschmidt (1978) - Ming Porcelain, London: Thomas and Hudson Ltd.
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