View source for Transitional Blue-and-White

'''Transitional blue-and-white''' refers to blue-and-white porcelains produced mainly at Jingdezhen during the late Ming to early Qing transition period (c. 1620–1683). These wares are characterized by the expanded use of narrative, figural, and landscape imagery rendered with dynamic brushwork, reflecting increased workshop autonomy and diversified patronage after the decline of centralized imperial oversight.

== Historical Context ==
During the late Wanli period and the subsequent political disruptions of the early 17th century, the imperial kiln system lost stability and direct state oversight weakened. Commercial kilns at Jingdezhen responded by producing wares for a wide range of domestic and overseas markets. Workshops exercising greater artistic independence developed new modes of visual storytelling, incorporating themes drawn from vernacular literature, drama, and contemporary social life.

== Iconography and Narrative Themes ==
Decorative programs emphasize:
* Scenes from popular plays and vernacular fiction (''Romance of the Three Kingdoms'', ''Journey to the West'', ''Water Margin'')
* Scholar-garden settings with pavilions, terraces, and pleasure landscapes
* Gentlemanly pursuits, including painting, reading, and qin-playing
* Landscapes with layered spatial recession, mist, and rock formations

Figures are often shown in active poses, interacting within clearly defined spatial settings. The imagery reflects narrative familiarity among literate urban audiences.

== Brushwork and Ceramic Aesthetic ==
Brushwork tends toward:
* '''Fluid, calligraphic line''' with controlled variation in stroke thickness
* '''Layered tonal washes''' for landscape depth
* '''Economical modeling''' of facial details using minimal lines

The cobalt blue ranges from soft grey-blue to darker inky tones, depending on cobalt composition and firing conditions.

== Forms ==
Typical vessel forms include:
* Meiping and slender bottle vases
* Cylindrical brush pots (''bitong'')
* Rolled-rim dishes and deep bowls
* Lidded jars for storage or display

The tall vertical walls of vases and brush pots provided continuous surfaces suitable for extended narrative compositions.

== Market and Patronage Context ==
Transitional blue-and-white was produced for:
* Literati households and scholar-official circles
* Urban merchant patrons
* Circulating regional markets in major river and coastal cities
* Select export markets, particularly Japan and Southeast Asia

The thematic content reflects the cultural concerns of these audiences rather than court ceremonial standards.

== Influence ==
The narrative emphasis and expressive brushwork of Transitional blue-and-white had lasting influence on:
* Qing dynasty figural blue-and-white
* Japanese Edo-period porcelain (e.g., Arita interpretations)
* Later revival styles in both Chinese and overseas workshop contexts

== See Also ==
* [[Blue and white porcelain]]
* [[Jingdezhen]]
* [[Ming dynasty]]
* [[Qing dynasty]]

== References ==
* Kerr, Rose. ''Later Chinese Porcelain''. Victoria and Albert Museum, London.
* Krahl, Regina. ''Chinese Ceramics from the Meiyintang Collection''. Vol. III. Hong Kong.
* Li Zhiyan (李知宴), ed. ''Zhongguo Tao ci Quan shu'' (中国陶瓷全书). Beijing: Shanghai Kexue Jishu Chubanshe.
* Pierson, Stacey. ''Ming Porcelains''. British Museum Press.
* Medley, Margaret. ''The Chinese Potter: A Practical History of Chinese Ceramics''. Phaidon.

== Categories ==
[[Category:Ceramics]]
[[Category:Blue and white porcelain]]
[[Category:Ming period]]
[[Category:Qing period]]
[[Category:Jingdezhen]]