How Women are Represented in Ceramics From the Ming and the Qing Dynasties in China

The paintings of women in ancient China were initially created by the literati, generally referred to as Shinvtu (仕女图) – meaning paintings of beautiful women. Female figures gradually appeared in other traditional Chinese art forms, including sculpture, pottery and porcelain. The earliest ceramic wares decorated with images of women were those produced in the Changsha Kiln during the Tang Dynasty. At that time, there were few ceramics adorned with female figures, and only two types of female characters were depicted: female dancers performing the Huxuan dance (a Sogdiana-style dance popularized in the Tang dynasty); and the female immortal named Feitian (飞天) or the Flying Apsaras.

The portrayal of these female figures on ceramics demonstrates the exchange and integration between Chinese and foreign culture. In the Song Dynasty, the principle that women are subordinate to men was widespread and upheld by patriarchal Chinese society due to the expanded influence of Neo-Confucianism. Therefore, ceramic wares with paintings of women on them were mostly placed in the boudoir, or in the private space used by couples, and porcelain pillows were put in the bedroom.

During the Yuan Dynasty, blue-and-white porcelain was produced in kilns at Jingdezhen, proving that paintings on ceramics could be as elaborate as works on paper. Hence, figure paintings became an increasingly preferred theme in the ceramic industry at Jingdezhen, and the female form began to appear on blue-and-white porcelain wares. In the Ming and the Qing Dynasties, Chinese ceramics reached its summit, and the portrayal of women on ceramics enjoyed rapid development as well. Female characters portrayed on ceramic wares varied greatly and included graceful nymphs, virtuous ladies, elegant noblewomen, female dancers and musicians. Paintings of women on porcelain were valuable not only because they were rich in themes and techniques and reflected the image of ideal women in a patriarchal society, but also because they demonstrated the aesthetic standard and cultural background of that particular period.

The research focus of this essay is the paintings of women on ceramics in the Ming and the Qing Dynasties, analysed in chronological order. The aim is to better understand: (1) the artistic development of the paintings of women on ceramics; (2) the crafts and techniques employed in these paintings;