There are pictures and truth: Look at the blank period blue-and-white porcelain in Ming Dynasty from the Palace Museum

The so-called “blank period” porcelain, also known by the industry as” dark period “porcelain, refers to the Ming Dynasty orthodoxy (1436-1449 AD), Jingtai (1450-1456 AD), Tianshun (1457-1464 AD), these three dynasties fired porcelain.The ceramics of this period really reflected the basic condition of social economy, politics and culture at that time.

In the past 30 years after the Xuande Dynasty, a series of political changes took place, which led to the collapse of the state, internal and external worries, economic depression, poor people’s livelihood and social unrest.In this situation, Jingdezhen porcelain production has also been greatly affected, porcelain-making level and porcelain quality compared with the former Yongle, Xuande has a significant decline.

So far, no matter the archaeological excavations unearthed, public museum collections, or antiques art market, can clearly determine the age of writing a chronological orthodoxy, Jingtai, Tianshun three-dynasty porcelain rarely found.This kind of blank period porcelain of Ming Dynasty, which has special historical significance, will naturally arouse the attention of academic circles and collectors.

Minɡ Zhenɡtonɡ


Blue and white pine, bamboo and plum grain pot, bright and orthodox

The height is 33 cm, the diameter is 17.5 cm and the foot diameter is 17.5 cm.

Palace Museum Collection

Can straight mouth, short neck, shoulder, tympanum, under the abdomen gradually inward, circle foot.The shape is dignified and full.A clear blue and white decoration.The neck is decorated with honeysuckle pattern, shoulder is decorated with tangled branch peony pattern, the belly is shown in the moon to reflect pine, bamboo and plum pattern, supplemented by flowers and plants, slope land, ganoderma lucidum and so on.The deformable lotus-petal pattern is drawn near the foot.The plain base has no glaze.Nothing is known.

In the orthodox dynasty of the ming dynasty, the production of porcelain, whether it is shaped, decorated, or blue-and-white color, reflected the style of the times are close to the official kiln ware of late xuande, is the continuation of xande porcelain style, but in the production of some evolution and innovation.There are two kinds of blue-and-white materials used in the orthodox blue-and-white porcelain. One is imported green materials used in Yongle and Xuande periods.The other is home-made green material, showing a lighter color, for the gray blue, this period began to use domestic green materials.The shape directly inherits the Xuande utensil, the shape is full, the bottle, the tank kind big shape implement compares with the Xuande period is not different, but the utensil mouth part receives slightly in the orthodox period, has the slightly different with the Xuande timer mouth;In terms of body and line, the line changes smoothly in orthodoxy and obviously fluctuates in Xuande.In terms of decorative layout, the orthodox blue-and-white is also the continuation of Xuande blue-and-white, bottle and can mostly use three-stage layout method: shoulder, abdomen, foot three parts.Yung Le, Xuande porcelain on the appearance of the cloud-gas patterns in the orthodox dynasty was widely used, generally also used outside thick line, thin line drawing.


Blue and white Kirin wing dragon pattern plate

Height: 10.7 cm, aperture: 52.4 cm, foot diameter: 28.7 cm

Palace Museum Collection

The mouth of the disk is slightly flabby, the shallow arc wall, the circle foot.The interior and exterior are decorated with blue and white flowers.The inner bottom draws a unicorn to stop between the pine cypress, the mountain stone and the banana leaf, the unicorn occupies the space very large, almost occupies the heart in the plate.Inside, four lines of dragons pass between the clouds and the sea.The outer wall is painted with twigs and lotus.The plain base has no glaze.Nothing is known.

The blue-and-white painting in the orthodox period of the Ming Dynasty was different from that in the early Ming Dynasty.Kirin, as a kind of ancient auspicious animal, appeared widely in porcelain painting in Ming Dynasty, it is the auspicious thing in ancient people’s mind, symbolizing auspicious happiness.However, the combination of Kirin and dragon pattern is rare in Yongle and Xuande blue-and-white porcelain.


Blue and white peacock pattern big pot bright orthodoxy

High 40 cm, diameter 20 cm, foot diameter 18.5 cm

Palace Museum Collection

Wide mouth, short neck, abundant shoulder, tympanum, abdominal gradually.Through body white glaze, decorated with green flowers, neck painted honeysuckle pattern for a week;The shoulders are painted with twigs and flowers;The abdomen picture peacock peony pattern,4 peacocks frolics in the peony flower, the peony flower is huge, the branch is luxuriant, around butterfly, dragonfly, bee flies, near the foot adorns the lotus pattern, the full wall place draws a week blue and white thick string line.

This pot modelling is dignified, the blue and white color is elegant, the pen method is smooth, the decoration uses the blue and white technique, causes the picture to have the three-dimensional sense.

Minɡ Tianshun


Qinghua with Qin visit friends Tumei bottle tomorrow Shun

Height: 32.5 cm, aperture: 5.4 cm, foot diameter: 10.5 cm

Palace Museum Collection

Bottle small mouth, neck take off wide, shoulder, long abdomen under the harvest.A clear blue and white decoration.The shoulder decoration sea water grain and the sea horse grain, the abdomen painting carries the Qin to visit the friend picture, near the foot decoration sea water grain.The plain base has no glaze.Nothing is known.

The blue-and-white porcelain of the Tianshun period of the Ming Dynasty had the characteristics of the original dynasty, as an example of the blue-and-white plum vase, the blue-and-white at that time had rich dark blue and grayish light blue changes, the instrument adopted imported blue-and-white cobalt material, the color was bright, and with black crystal spots.The picture works naturally, uses a sketch, especially the center moves the pen to draw the current cloud and the character to have the unique place, shows the higher painting level.The blue-and-white pattern does not resemble Xuande’s faintness, nor does it resemble the fineness of Chenghua, with a sense of elegance.And the figure in the picture is more contrary to the wind, crown belt, clothes brush up, look leisurely.In front of the foot is the strong grass under the strong wind, behind is the high mountains covered by the cloud and air forest.The painted cloud lines, bold and unrestrained, showing the shape of ganoderma lucidum, and there are layers of small circle over the side of the cloud.This special streamer pattern is not only different from the simple style in the early Ming Dynasty, but also different from the round and soft style after Chenghua.Tianshun blue-and-white porcelain in the body and shape also reflects the characteristics of the times, the general body is thicker than the mature period, the body is taller than Xuande, this bottle is no exception, the style is simple and Dunhou.


Green Flower, Lotus, Big Bowl, Tomorrow

Height: 13.5 cm, aperture: 33.2 cm, foot diameter:17 cm

Palace Museum Collection

The bowl skims the mouth, calms the abdomen, cuts the shallow circle foot flat.The body is a little thick, the glaze is rich, the white glaze is broad green, the blue and white flower is decorated, the inside mouth is decorated along the border of the brocade lines, the inside bottom blue and white flower double circle inside draws lotus diagram, the blue and white glaze color is light and light.Inside there are 4 groups of broken branches peony, rose, chrysanthemum, camellia pattern.The outer mouth is painted with double strings of green flowers along the foot and the foot wall. The outer wall is also painted with lotus diagram. The water waves in the pond are rippling and the lotus flowers are in full bloom.

This large bowl-shaped, decorative dense, with the pen round and powerful, blue and white color, for the Tianshun period exquisite work.


Green Flower Eight Immortals Tins Tomorrow

Height: 37.5 cm, aperture: 20.5 cm, foot diameter: 21.5 cm

Palace Museum Collection

Straight mouth, short neck, round shoulder, thin shin, circumflex foot.In the white glaze is green, the outer wall is decorated with green flowers, the neck is decorated with brocade lines for a week, the shoulder draws the fold branch flower, the abdomen draws the eight immortals figure picture.

Eight Immortals character is Ming orthodoxy, Jingtai, Tianshun three common decorative patterns on the utensils, Eight Immortals characters often with a large number of moire, mostly Ruyi shape or Ganoderma lucidum shape, so that the character has a sense of elegance.Although the pot is incomplete, it has important research value.


Blue and white peony disc tomorrow

Height: 6.9 cm, aperture: 33.8 cm, foot diameter: 21.3 cm

Palace Museum Collection

Open, shallow wall, circle foot.Blue and white pattern decoration, the heart-painted mountain stone peony pattern, inside and outside wall are painted 8 peonies, foot white glaze, no money.This plate is thick and heavy, the repair of the tire is regular, decorative and dense, blue-and-blue gray, for general kiln products.


Blue and white persian tripod furnace tomorrow

Height: 11.5 cm, aperture: 15.3 cm, foot distance:14 cm

Palace Museum Collection

Furnace is barrel-shaped, lip mouth, flat-bottomed, under the bearing with three feet.The inner light element has no grain decoration, the outer blue and white flower decoration.A single line of blue and white is drawn at the edge of the furnace for a week, and two blue and white strings cross three feet.There are three lines of Persian written in blue and white material on the abdomen, taken from the poem Orchard by the Persian poet Sadie.Today, young man, it is time to show respect to the Lord. The Ming people never return their youth. It is not just the Muslims who keep fast but also the poor people who serve food week. Now you are free from trouble and strong, and you should hit the polo on a wide court. For the government must not stab the hearts of ordinary people, oppressing the people is to dig their own roots. The humble wise like a fruit tree, hanging fruit more branches more curved. “The bottom of the blue and white letter” Tianshun year “three-character money.

This tube-type three-foot furnace has a moderate proportion of shape, a moderate thickness of the body, and a regular repair of the tire.The glaze is white and blue.Persian writing fluency, not only has the effect of decoration, but also with the beautiful text content to express the producer’s ideological realm.The three-character style of “Tian Shun Nian” not only has the rich style since Xuande, but also has the reserved face of Cheng Hua one dynasty, especially the character of “Tian”, which forced Xiao Cheng to turn into the calligraphy of “Tian” on the jar of “Tian”.In addition, the furnace is also documented in the document “Tianshun Ding Chou (1457), Jianzhong official burn made” physical proof.The stove was donated to the Beijing Palace Museum in 1988 by Mr. Yang Yongde, a well-known Hong Kong collector.

This furnace is basically similar to a Tianshun Qinghua furnace now hidden in the Shanxi Museum, Department “Tianshun seven years Datong made” paragraph.

Minɡ Jinɡtai


Qinghua Baobao Goulian Tins Mingjingtai

Height: 43cm, mouth: 23cm, foot: 24cm

Palace Museum Collection

Straight mouth, short neck, shoulder, tympanum, under the abdomen gradually, out of the foot.Blue and white decoration, the neck painted plum blossom brocade pattern a week, shoulder around tangled branches peony flower, abdominal panoramic picture tangled branches with eight-treasure pattern, near foot decorated lotus leaf pattern.Each layer of decorative blue-and-white double lines separated, the layout is staggered.Foot astringent embryo, no glaze.

Ming orthodoxy, Jingtai, Tianshun blue-and-white porcelain to bottles, cans, bowls, plates in the majority, in which the shape of the pot more inherited Ming Xuande formal and dignified style, but some of the artifacts also slightly changed, the tank body slightly higher than Xuande can.The motif pattern draws peacock peony, the character story, the Xianshan tower, the lotus eight treasure and so on implied meaning auspicious pattern.


Qinghua Baxian Qingshou Lacquer, Mingjingtai

Height: 35.3 cm, aperture: 21.5 cm, foot diameter:20 cm

Palace Museum Collection

Can straight mouth, short neck, shoulder, bulging abdomen, abdomen gradually, close foot outside, foot edge slant, shallow wide circle foot.A clear blue and white decoration.The neck draws the diamond brocade grain, the shoulder draws the cloud crane to be mixed the precious grain.In the picture of Eight Immortals, the old man has a stick holder, a chess player, a chess watcher, a board player, a flute player, an incense player, etc.Some of the children hold things, some hold umbrellas, some hold fruit plates.Characters in the rock, bridge, water environment, and accompanied by cranes, deer, pine, the sky for a large number of ganoderma-like Xiangyun, meaning longevity Fulu pattern.Near foot draws the sea water river cliff pattern.Blue and white color thick gray, glaze spread green, and have obvious open-grain lines.The plain base has no glaze.Nothing is known.

The blue-and-white porcelain of the Jingtai period of Ming Dynasty continued the style of the orthodox blue-and-white porcelain.Its pattern decoration layout is sparse, the painting style is gentle, the pattern image generalizes, the complexity is appropriate, but the picture whole is slightly more concise, the space is larger.