Identification of Ming and Qing Porcelain Patterns. Volume on Animal Motifs

Author: Tie Yuan
Publisher:
Publish Date: 2005-05-01
Features: Animal motifs in Ming and Qing dynasty porcelain are the second most common theme after plant motifs, holding an important position among all decorative patterns. Their themes are diverse, styles varied, and the characteristics of different eras are distinctly evident. In the early Ming period, the themes were relatively narrow, with sea creatures being the main focus. During the "blank period," lions and qilins were commonly depicted. In the mid-Ming period, animal motifs became increasingly rich, while in the late Ming period, these motifs were often given allegorical meanings. Although the painting in the late Ming period was somewhat crude, it was full of life. In the Qing dynasty, the themes became even more extensive, building upon the Ming dynasty. Whether in terms of expression or the innovation of motifs, the Qing dynasty demonstrated remarkable achievements. Especially, the bat motif, symbolizing auspiciousness, became an indispensable theme in Qing dynasty animal motifs.
This book includes over 500 pieces of Ming and Qing dynasty wares adorned with animal motifs, categorized into 24 chapters based on the different subjects depicted: Qilin motifs, auspicious animal motifs, sea creature motifs, lion motifs, tiger motifs, pine-deer motifs, hundred-deer motifs, deer-and-crane-in-spring motifs, horse motifs, ox motifs, sheep motifs, monkey motifs, joyous-deer-and-honeybee-monkey motifs, rabbit motifs, squirrel motifs, fortune-and-longevity motifs, five-bats-holding-longevity motifs, prosperity-in-equality motifs, fortune-and-happiness motifs, longevity-mountain-and-happiness-sea motifs, cloud-bat motifs, fish motifs, crab motifs, and screw motifs.
The book elaborates on the animal motifs of different dynasties from aspects such as composition, painting techniques, and colors, providing chronological identifications. In the process of discussion, it compares similar motifs across different dynasties, highlights the differences between official kilns and private kilns, and contrasts genuine and counterfeit works. Special attention is given to detailed enlargements of certain motifs, which address the common issues of overlooking small details or focusing only on the broader picture. These enlargements enable readers to identify subtle differences, offering strong evidence for accurate chronological identification.