Page 49 - Yuan_Dynasty_Ceramics

Chapter 07 (pp. 330-385)_Layout 1 7/7/10 5:42 PM Page 378

have come to Jingdezhen from the court, due to who was the Prince of Qin and the second son of the
Jingdezhen’s proximity to Jian’an, the artisans at the im- Tang dynasty Emperor Gaozu. 225 In the painting on this
perial kiln would have been familiar with these wood- blue and white vessel, the enemy general Shan Xiongxin
block prints as well. gallops towards Li Shimin with his spear outstretched, but
It is believed that the earliest Yuan drama wares were Yuchi Gong heroically disarms him using an iron staff. Li
produced at the imperial kiln by the most skilled artisans Shimin later became Emperor Taizong, which is why an
using the finest materials. After production at the Yuan attendant depicted on the jar holds a banner bearing the
imperial kiln ceased, other examples were probably made characters Tang Taizong. 226 Tang Taizong is generally re-
at private kilns, and some of these are less refined. 224 A garded as one of the greatest emperors in Chinese history.
smaller kiln chamber made it easier to maintain uniform Arguably the most outstanding piece of Yuan style
temperature levels during firing, and if the Yuan imperial blue and white is a meiping recounting the famous play by
kilns, which have not been found, were about the same Jin Renjie (?–1329) titled Xiao Heyueye zhui Han Xin (Xiao
size as the kilns used at the excavated early Ming imperial He Pursues Han Xin on a Moonlit Night; Fig. 7.52). This
site, we can assume that the kiln chambers used to fire story is based on a historical event that occurred during
Yuan imperial wares were smaller than those at private the founding of the Han dynasty. In the tale, when Liu
kilns, such as Hutian, that made wares for the public. The Bang (256–195 B.C.E.), who later became the first Han
clay used at the imperial kilns was also as refined as possi- emperor, did not expeditiously approve the recommen-
ble, and if the early Ming rule was a carryover from the dation of Minister Xiao He (?–194 B.C.E.) that Han Xin
Yuan regime, flawed wares were considered unacceptable (?–196 B.C.E.) should lead his army, Han grew discour-
and reduced to shards. By contrast, some customers of aged, thinking that his talents would never be utilized,
the private kilns, such as the one who ordered the won- and left. Xiao pursued him, and after finding him on a
drously painted 1351 temple vases now in the Sir Percival riverbank, pleaded with him to rejoin. Upon their return,
David Collection at the British Museum, had to accept a Xiao advised Liu that Han’s leadership was essential for
vase misfired on one side (see Fig. 7.49a and b). victory. Han was made chief marshal with power over
With one notable exception, which was found in a Liu’s troops. The scene shows Xiao in search of Han.
tomb dated 1392, drama wares of the highest quality are Downtrodden, Han leads his listless horse to the water’s
considered to be products of the Yuan imperial kiln, ow- edge, seeking advice from a boatman. On the opposite
ing to the Shundi emperor’s known affection for Yuan side of the vessel, Xiao anxiously rides his galloping steed
dramas. A great deal of attention has been paid to this in pursuit. His horse, as if fully understanding the mis-
group of wares because of their beauty, rarity, and impor- sion, looks around while maintaining a full gallop. The
tance. Many of the scenes have been identified, whereas scene is masterfully composed and executed, achieving
the subjects of others are still unknown. In general, the remarkable harmony in spite of the sharp contrast in vi-
paintings are of classic tales that were popularized by gnettes of aimless wandering and intensive searching.
Yuan drama performances. Popular subjects included The painter successfully evokes these two radically differ-
Lady Wang Zhaojun (active 48–30 B.C.E.); the female ent sentiments in one immensely satisfying scene.
poet Cai Wenji (active. ca. 200 C.E.), who was held cap- Because this Yuan-style meiping was found in the 1392
tive by the Xiongnu in the northern frontier for twelve tomb of Mu Ying, a general of the revolutionary forces
years; the military generals Zhou Yafu (?–143 B.C.E.), and adopted son of the first Ming emperor, it is likely that
Meng Tian (?–210 B.C.E.), and Yuchi Gong (585–658); it was produced after Jingdezhen came under the control
and the literati elite Wang Xizhi (303–379), Tao Yuan- of Zhu Yuanzhang’s troops. Given that Zhu referred to
ming (approx. 365–427), Zhou Dunyi (1017–1073) and Mu Ying as the Han Xin of his time, the imperial quality
Lin Hejing (965–1026). of this piece takes on special meaning: Mu, believed to be
Another stunning example of this art form is a Yuan a Muslim of Hui descent rather than of the majority Han
wine jar decorated with a scene from the play Yuchi Gong ethnicity, was still a loyal and honored supporter of Zhu
Jiu Zhu (The savior Lord Yuchi). The play was written in Yuanzhang who overthrew the foreign Mongol rulers.
late thirteenth century by Shang Zhongxian and was He died in 1392 and was buried not far from Nanjing’s
based on a historic event that occurred in 620 (or third mausoleum for the Hongwu emperor. After the estab-
year of the Wude reign according to the Tang Shu; Fig. lishment of the Ming dynasty, Mu became one of the
7.51). It recounts the valorous act of the general Yuchi commanding generals in the Yunnan campaign. One of
Jingde (585-658) to avert the assassination of Li Shimin, the captives in this campaign was the twelve-year-old

378 Yuan Dynasty Ceramics