China

Fine arts

In the realm of the arts, the Ming period has long been esteemed for the variety and high quality of its state-sponsored craft goods—cloisonné and, particularly, porcelain wares. The sober, delicate monochrome porcelains of the Song dynasty were now superseded by rich, decorative polychrome wares. The best known of these are of blue-on-white decor, which gradually changed from floral and abstract designs to a pictorial emphasis. From that eventually emerged the “willow-pattern” wares that became export goods in great demand in Europe. By late Ming times, perhaps because of the unavailability of the imported Iranian cobalt that was used for the finest blue-on-white products, more-flamboyant polychrome wares of three and even five colours predominated. Painting—chiefly portraiture—followed traditional patterns under imperial patronage, but independent gentlemen painters became the most esteemed artists of the age, especially four masters of the Wu school (in the Suzhou area): Shen Zhou, Qiu Ying, Tang Yin, and Wen Zhengming. Their work, always of great technical excellence, became less and less academic in style, and out of this tradition, by the late years of the dynasty, emerged a conception of the true painter as a professionally competent but deliberately amateurish artist bent on individualistic self-expression. Notably in landscapes, a highly cultivated and somewhat romantic or mystical simplicity became the approved style, perhaps best exemplified in the work of Dong Qichang.