Brilliance: Ming Dynasty Ceramic Treasures from the Palace Museum, 1368–1644

EVENT DESCRIPTION

On its second anniversary, the Hong Kong Palace Museum (HKPM) will unveil a new thematic exhibition Brilliance: Ming Dynasty Ceramic Treasures from the Palace Museum, 1368–1644 on 10 July 2024 in Gallery 3.

Jointly organised by the HKPM and the Palace Museum, this exhibition marks the second large-scale Palace Museum ceramic showcase since the opening of the HKPM. The exhibition will feature the new batch of 106 ceramic treasures on loan from the Palace Museum, including 21 grade-one national treasures, as well as five pieces from the HKPM’s own collection, showcasing the development and achievements of Ming dynasty ceramics.

Ceramics are among the largest categories of treasures in the Palace Museum collection, accounting for 360,000 out of its more than 1.86 million items. Unparalleled in volume, quality, and variety, they are mainly inherited from the imperial collections of the Ming (1368–1644) and Qing (1644–1911) dynasties. “Brilliance” features over 100 representative Ming ceramic treasures from the collection of the Palace Museum. It is organised in three sections and explores the development and the outstanding achievements of ceramic production in form, glaze, and design in the early, mid-, and late Ming dynasty. The exhibition continues the spotlight on Chinese ceramics, building on the inaugural exhibition of “Clay to Treasure: Ceramics from the Palace Museum Collection” at the HKPM. Apart from the 106 ceramic treasures from the Palace Museum, the exhibition will showcase seven exhibits from the generous donations to HKPM by Mr Lawrence Chan, master of the Dawentang Collection, and Mr Anthony Cheung, owner of the Huaihaitang Collection.

The Ming dynasty was a golden age of Chinese ceramics. Ming dynasty ceramics are remarkable works of art, distinguished by their quality and diversity. They tell stories of the imperial court, technological advances, and cultural exchanges. Imperial kilns were founded at Jingdezhen in Jiangxi province in 1369 to produce pieces for the exclusive use by the court, which imposed strict control over the management of the kilns. As a result of imperial patronage, Ming emperors influenced porcelain production and style. Ming potters, continuing the legacy of their predecessors, perfected their craft and sought to break new ground. As powerful vehicles of cultural exchange, Ming ceramics were widely traded, admired, and copied, generating a craze for Chinese porcelains around the globe.

“Brilliance” features 106 newly loaned masterpieces from the Palace Museum, alongside 7 pieces from the HKPM collection. Most of these treasures of the Palace Museum are on display in Hong Kong for the first time. Among them are 21 grade-one national treasures, including a pear-shaped vase with a “Three Friends of Winter” decoration from the Hongwu period, a dish with dragons among waves from the Zhengtong period, a cup with garden scenes in autumn from the Chenghua period, and a garlic-mouth bottle with birds and flowers among lotus ponds from the Wanli period. Organised in three sections, the exhibition explores the development and the outstanding achievements of ceramic production in form, glaze, and design in the early, mid-, and late Ming dynasty: 

• The early Ming dynasty (Hongwu to Xuande periods, 1368–1435) was the golden age of blue-and-white porcelain, which is known for its fine body and glaze, as well as intensely blue decorations. The Yongle and Xuande wares of monochrome copper red and cobalt blue also exemplified the sophistication of Ming ceramic technology. The elegant and subdued “sweet white” porcelains of the Yongle period were often compared to translucent and lustrous white jade.
• During the mid-Ming dynasty (Zhengtong to Zhengde periods, 1436–1521), the ceramics displayed representative features, including enameled doucai wares as well as blue-and-white porcelains known for their subtle colours and delicate thin bodies during the Chenghua period. Monochrome wares with bright yellow enamel and porcelains with green-enameled designs were representative of the Hongzhi period. Thick-bodied blue-and-white wares with greyish–blue designs stood out during the Zhengde period.
• During the late Ming dynasty (Jiajing to Wanli periods, 1522–1620), the porcelain industry flourished at Jingdezhen and the folk kilns greatly expanded. Their porcelains became more diverse and inventive in form and design, and skilled artisans succeeded in firing impressively large vessels, despite their proneness to distortion. The late Ming also saw further development of the “five colour” technique. Porcelain designs became highly innovative and distinctive in the late Ming reflecting the influence of the emperors’ preferences. For example, the Jiajing Emperor (1507–1567) was a devout Daoist, and the wares made for his court were often adorned with Daoist symbols of longevity, including cranes and the eight trigrams. The Wanli Emperor (1563–1620) was a follower of Buddhism; many imperial wares produced during his reign bore lotuses, beaded garlands, and other Buddhist motifs.

A series of educational programmes will enhance understanding of Ming dynasty ceramics

Visitors who enjoy hands-on crafting experiences are encouraged to take part in a ceramics workshop and create ceramic pieces inspired by the exhibition. The Museum will also organise public talks where curators of the exhibition as well as other specialists will share their insights into the historical significance and regional impact of imperial porcelain in the Ming dynasty.