Page 68 - Chinese and Asian Ceramics from an Indonesian Collection

Chapter 4. Glazed Ceramics in the Musi River

Ming Dynasty and received imperial patronage after
1400 until the first Chinese Republic in 1912. While
the Jingdezhen kilns produced the majority of ceramics
during this period a large number of private kilns
flourished in its neighbourhood. Relatively little pottery
was produced at Jingdezhen during the reign of the first
Ming emperor, Hongwu, because for most of his reign
he was in a struggle to complete the destruction of the
Yuan Dynasty. Additionally, he banned the use of images
of specific groups of people and objects on porcelain,
such as previous emperor’s poets and saints, dragons,
phoenix, lion and Qilin, as well as use of colour glaze,
Figure 56. Bowl, under-glaze blue varied floral pattern, diameter including the use of cobalt in under-glaze blue. According
14.8 cm, Early-Ming Dynasty, Jingtai to Chenghua
emperors, 1450–1487, from the Musi River, Pusri to Tai (2011) such decrees that impacted foreign trade
site. Catalogue No. K1852. were intended to counter piracy. Whatever the motive,
he concluded that they resulted in a decline in ceramic
production because the ban severally reduced necessary
resources to Chinese potters, especially cobalt from the
Middle East. Koh (2010b) posits that it is unlikely that
any non-imperial ‘folk kiln’ blue and white was produced
at all during the reign of emperors Hongwu and Yongle.
The great Jingdezhen kilns, which had supplied
beautifully decorated porcelain to the world for centuries,
were largely destroyed during the dislocations that led to
the fall of the Ming Dynasty. Fortunately, the Qing emperor
Kangxi rebuilt Jingdezhen kilns and production resumed
in 1683 and quickly reached peak production, which was
maintained during the reigns of Kangxi (1661–1722),
Yongzheng (1722–1735), and Qianlong (1735–1796).
During this period, techniques of ceramic production
improved for blue and white and polychrome wares.
Especially in the use of enamel glazes which acquired
a more brilliant look than those of the Ming Dynasty.
Five-coloured ware was further developed by applying a
variety of under-glaze pigments to floral, landscape, and
figurative styles. In the 19th century the main market
Figure 57. Bowl, fish in biscuit colour in centre with under- for Chinese porcelain was North America. However,
glaze blue water weeds surround, diameter 12.2 cm,
Early-Ming Dynasty, Chenghua to Hongzhi emperors, disturbances in China in the last half of that century also
1465–1505, from the Musi River, Boom Baru site. hindered production of Jingdezhen kilns with the result
Catalogue No. K2484. that little porcelain was made in China.
The variety of Qing Dynasty ceramic wares can be
to 9 cm and may be from South China, Fujian Province. gauged by those discovered in shipwreck cargoes salvaged
It was suggested by Stevenson & Guy (1997) that in China from vessels considered to have been transporting
such bosses represented nails that secure the vibrating ceramics from China to Batavia, the capital of Java, during
skin of drums and suggest a Buddhist use. the Qing Dynasty. These included among others (date of
Song and Yuan Dynasty glazed ceramics, apart wreck in brackets): Bin Thuan (c.1610), Hatcher Cargo
from black glazed kitchen wares, from the Musi were wreck (1643–1646), Vung Dau (1690), Near Bintan Island
predominately found at the Pusri site. A total of 54 per cent (c.1710), Ca Mau (1723–1735), Diana (1817), Tek Sing
of the 246 items with recorded site information were from (1822) Koh (2009; 2014a, b; 2015a; 2016d), Ball (1995).
Pusri. Then, in order of abundance, Boom Baru (28 %),
Sungai Rebo (9%), Batu Ampar and Sungai Guci (3%), Blue and white wares
and Pulau Dusun Salanomo and Sungai Parit 12 (<1%). Blue and white porcelain produced during the Ming
Dynasty was grouped as follows: Early-Ming period,
MING–QING DYNASTIES Hongwu to Chenghua (1368 to 1487); mid-Ming, Hongzhi
While much of late-Song ceramic tradition continued to Jiajing (1488 to 1566); and late-Ming, Longqing to
deep into the Ming Dynasty, Ming potters introduced Chongzhenung (1567 to 1644).
some massive forms, often intricately designed, and Apart from the early-Ming period there was a ready
with bright colours. The Jingdezhen kiln complex, in acceptance of foreign forms and a readiness to produce
Jiangxi Province, became the ceramic centre of the wares, particularly those with colour and painted design,

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