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Reproduction Porcelain In The Ming Dynasty The emergence of reproduction porcelain in the Ming dynasty was closely connected to a general admiration for the prosperity, technological advance and ideology of an earlier age, the Song dynasty. The Confucian idealist philosophy prevalent in the Song was now seen as a possible source of inspiration for the literati and officials of the Ming. The Ming emperors themselves came under the influence of these trends. The Emperor Xuande, for example, ordered the imperial kiln in Jingdezhen to reproduce the porcelain of the Ruyao and Geyao kilns, two of the five great kilns of the Song dynasty. Examples, which reflected imperial taste, include the replica of a Ruyao porcelain dish and the replica of a Geyao porcelain bowl. Xuande's successor, Emperor Chenghua, continued in the same tradition, commissioning many reproductions of Song-dynasty Ru and Ge wares during his reign.
With the development of an expanding market for ceramics in the late Ming dynasty, many privately owned kilns were set up in competition with government ones. Thus reproductions were being made simultaneously by the private kilns and, under imperial patronage, by the kilns at Jingdezhen. Ceramics favored by the court harked back to those produced during the reigns of emperors Yongle, Xuande and Chenghua, and so copies were commissioned. During this period, there were ceramics imitating Song-dynasty Guanyao, Dingyao, Geyao, Junyao, Longquanyao wares, but also blue-and-white porcelain, doucai (contending color) porcelain, red-and-green porcelain, and porcelains with white and red glazes, which copied those produced in the early Ming dynasty. |
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