Reference (Ware form):
1. Zhang, Hong-wei. “Appendix figure 19: Meip’ing vase with underglaze blue and red decoration of clouds and dragon from Yong-le of Ming dynasty”, “Appendix figure 20: Meip’ing vase with underglaze red decoration of clouds and dragon from Yong-le of Ming dynasty”, “Appendix figure 21: Meip’ing vase with red glaze and incision of clouds and dragon from Yong-le of Ming dynasty”, Ancient Chinese Ceramics Research, Vol. 10, Beijing: Forbidden City, 2004.
2. Geng, Bao-chang. “Figure 13: Meip’ing vase with underglaze-blue decoration of peach and bamboo” Collection of Blue and White Porcelains from Early Ming Dynasty, Vol. 1, Beijing: Forbidden City, 2002, p.38.
Meip’ing vase was fashionable daily porcelain during Song (960-1279) and Yuan (1279-1368) dynasties. While in Ming (1368-1644) and Qing (1644-1911) dynasties, Meip’ing vase changed from slender shape to stout shape for ornament.
This vase was decorated with dragon, cross clouds, billows, and so on. The decoration depicted an underglaze-blue dragon amongst terrifying sea of clouds. The powerful and animated dragon demonstrated strong and eminent image.
Bluish white glaze displayed exquisiteness, thin layers, and translucency.
Reference (Decoration):
1. Ma, Xi-gui. “Figure 120: Foliated basin with ten lobes and underglaze-blue decoration of cloud and dragon”, Chinese Blue and White Porcelain, Shanghai: Shanghai Gu Ji, 1999, p.101.
2. Geng, Bao-chang. “Figure 46: Bowl with underglaze-blue decoration of clouds and dragon”, Collection of Blue and White Porcelains from Early Ming Dynasty, Vol. 1, Beijing: Forbidden City, 2002, p.92.
Dragon pattern in Yuan dynasty had features of slender long neck and slim body, but changed to strong and fearful image in Yong-le and Xuan-de periods. There were two kinds of dragon hair, including vertical and horizontal flying hair. Besides, dragon body was drawn with fish scales and fat claws of three to five.
Reference:
1. Ma, Xi-gui. Chinese Blue and White Porcelain, Shanghai: Shanghai Gu Ji, 1999, p.85, 126.
Reference (Decoration):
1. Geng, Bao-chang. “Figure 25: Tripod incense burner with underglaze-blue decoration of billows”, Collection of Blue and White Porcelains from Early Ming Dynasty, Vol. 1, Beijing: Forbidden City, 2002, p.56
Imported pigment was called Su-ma-li blue or Su-ni-po blue. In volume three of Pottery written by Zhu Yan, it mentioned “Imperial Porcelains made in Yong-le and Xuan-de periods were still highly valued to date. At that time, the most frequent produce was sweet white porcelains with orange peel effect. The most used pigment was Su-ma-li blue. The most precious porcelain was bright red porcelain.”
Su-ma-li blue presented dense blue that was embedded into clay and was diffused. Imported pigment contained high amount of iron, so dark blue color showed blackish brown iron rust spots at thick pigment area after firing in reductive atmosphere under high temperature.
Reference:
1. Geng, Bao-chang. Collection of Blue and White Porcelains from Early Ming Dynasty, Vol. 1, Beijing: Forbidden City, 2002, p.36.
2. Yang Jia-luo. “Volume 3 of Pottery”, A record of Ceramics, Vol. 1, Taipei: World Bookstore, 1974, p.109.
The unglazed bottom was pared orderly. Clay from imperial kilns in Yong-le and Xuan-de periods had characteristics of exquisiteness, clear whiteness, delicate texture, and smooth touch. Because of few metal impurities inside clay, black sesame spots emerged while firing in the kiln.
Reference:
1. Liu, Ru-shui. Appreciation of China, 2nd Ed, Taipei: Shuchuan, Aug. 2004, p.118.
The imported pigment, Su-ma-li blue, contained low concentration of manganese and high concentration of iron and cobalt. Thus, brown or greenish brown iron rust spots appeared at thick pigment area, where uneven surface might exist.
Thick glaze presented crystal air bubbles in various sizes closely.
Reference:
1. Li, Hui-bing. Appraisement Foundations of Chinese Porcelain, Beijing: Forbidden City, 2001, p.226.
