Identification of Porcelain Patterns in the Ming and Qing Dynasties – Animal Motifs Volume (Old Antiques Series)

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 skills in the late Ming period were somewhat crude, the works were full of life. In the Qing dynasty, the themes became even more extensive, building upon those of the Ming dynasty. Whether in terms of expression or the innovation of motifs, the Qing dynasty showed remarkable achievements. In particular, the bat motif, symbolizing auspiciousness, became an indispensable element in Qing dynasty animal motifs.
This book features over 500 pieces of Ming and Qing dynasty porcelain adorned with animal motifs, categorized into 24 chapters based on the depicted subjects: 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, boundless-fortune-and-heaven motifs, fortune-and-happiness motifs, longevity-mountain-and-fortune-sea motifs, cloud-bat motifs, fish motifs, crab motifs, and snail motifs.
Starting from aspects such as the layout, painting techniques, and colors of the motifs, the book provides an explanation and dating of animal motifs from various dynasties. The specific discussions include comparisons of similar motifs across different dynasties, differences between imperial and civilian kilns, and contrasts between authentic and counterfeit works. Special attention is given to enlarged images of details, which address the common issues of overlooking small details or focusing only on the broad strokes. This allows readers to identify subtle differences and provides strong evidence for accurate dating.