Symbolism on Ming Blue and white

Symbolism in Ming Blue and white Ceramics

Decoration on Ming ceramics extends beyond mere ornamentation, reflecting profound cultural values of Chinese civilization. Through motifs, moral ideals, religious beliefs, and collective aspirations of both the literati and common people are ingeniously conveyed. Understanding these symbols offers insight into Chinese philosophy and societal values.

The Chinese have uniquely developed a method to express complex ideas through motifs in folk art. The key elements include:

Emblematic Objects: For example, a peach or lingzhi fungus which symbolizes longevity.
Homophonic Associations: Objects are chosen whose names sound similar to words with auspicious meanings (e.g., the bat sounds like “fu,” which implies happiness or luck).
Combination of Elements: Often, both emblematic and homophonic elements are used together to enrich the meaning.


	Hongzhi blue and white dish with Shoulao and shou character.

Below is an exploration of the symbolism found in some Ming blue and white wares produced by folk kilns (minyao).

Wishes of the Common Folk

In an agricultural society where human labor is vital for farming, having many male offspring—especially sons to carry on the ancestral line—has long been treasured. This value is reflected in ceramic decorations featuring infants.

Infants and the Lotus: A common motif is an infant carrying a lotus. In Chinese, the word for lotus is lian, which sounds similar to a word meaning “in succession.” Thus, the image symbolizes the wish for successive generations.

Hongzhi bowl with infants motif

Another popular motif on late Ming wares shows an infant riding a qilin (also spelled chilin). The qilin is an auspicious, unicorn-like mythical creature that, according to legend, appeared during the reigns of the wise and benevolent emperors Yao and Shun. As time passed and the creature disappeared from the world, the qilin became associated with auspicious omens, virtue, and illustrious offspring—making it a favored decoration on porcelain wares.

Wanli Jar with an infant on a Qilin

Chenghua/Hongzhi plate with a Qilin

Other common wishes are conveyed through various objects:

Longevity: Emblematic objects such as the peach, pine tree, lingzhi fungus, shoulao (the god of longevity), and crane.
Honor/Richness: The peony or homophonic images like the deer (whose name sounds like lu, meaning emolument).
Peace: Objects such as a vase (which sounds like ping, meaning peace).
Marital Bliss: A pair of mandarin ducks.
Abundance: The fish, whose name sounds like yu, meaning abundance.

Aspirations of the Literati Class

Scholars pursued Confucian ideals, aspiring to serve through official careers. Motifs reflecting success include:

Scholar with a Deer: One common motif features a scholar accompanied by a deer—the deer being a homophone for lu (emolument), symbolizing official success.
Leaping Fish: Another motif shows a fish leaping out of the waves, representing success in the imperial examinations.
Rebus Motifs: An intriguing example is a motif combining a bee and a monkey. The word for “bee” sounds like feng (to confer), while “monkey” sounds like hou (duke), implying ultimate career success in attaining a ducal position.
Kuixing: The god of Literature, worshiped for success in the imperial examinations, is also sometimes depicted on ceramic vessels.

Wanli/Tianqi bowl with official/deer motif

Jiajing/wanli dish illustrating a rebus with bee/monkey and deer and the emblematic object pine tree

For scholars disillusioned by bureaucracy, motifs celebrated reclusive refinement. This life is defined by the cultivation of the Four Arts: the qin (a string instrument), chess, calligraphy, and painting, which together epitomize the ideal gentleman.

Contemplative Motifs: Such themes are depicted with images of a contemplative scholar or hermit in nature, or a scholar visiting a friend accompanied by an attendant carrying his qin.
Symbolic Objects: Purity is symbolized by the lotus, while endurance and moral rectitude in adversity are represented by the “Three Friends of Winter” (pine, prunus, and bamboo).

Tianshun/Chenghua Bowl decorated with the "Three friends of winter" motif, symbols of strength in adverstiy and longevity

Hongzhi bowl showing the lotus motif - the lotus risinh from mud symbolizes the ability to resist corruption and maintain moral purity.

Religious Symbols

From Emperor Yongle through to Hongzhi, many emperors were devout Buddhists, and Buddhist symbols became popular in this period.

Buddhist Scripts and Auspicious Objects: Decorations often include Sanskrit or Tibetan religious scripts and characters, as well as the Eight Auspicious Objects. These objects include:
- Parasol: Symbolizing royalty and spiritual power.
- Golden Fishes: Representing good fortune, fertility, and salvation.
- Treasure Vase: Signifying spiritual and material abundance.
- Lotus: Denoting mental and spiritual purity.
- Conch Shell: Representing the propagation of Buddha's teachings.
- Endless Knot: Symbolizing the infinite wisdom of Buddha.
- Victory Banner: Denoting the triumph of Buddha’s teachings over ignorance.
- Wheel: Representing the teachings of Buddha.

These elements are often interwoven with floral scrolls on early and mid-Ming bowls, particularly along the inner mouth rim. Although the auspicious objects can sometimes be drawn in a rudimentary fashion, their symbolic meanings remain multi-layered.

Another object commonly found on 15th-century Ming blue and white ceramics is the Vajra. Resembling a thunderbolt, the Vajra is the emblem of the divine force in Buddha's doctrine—one that shatters all false beliefs and ignorance.

Xuande/Zhengtong bowl with floral scroll and Sanskrit characters

Chenghua/Hongzhi bowl with floral scroll interspersed with Buddhist auspicious objects and sanskrit characters on the inner mouth rim

After Emperor Zhengde, Jiajing—who was a fervent Taoist seeking the elixir of longevity (ironically, mercury was a key ingredient and likely contributed to his demise)—saw the rise in popularity of Taoist symbols on Ming blue and white ceramics.

Taoist Symbols: The most common Taoist motifs include the Eight Precious Objects associated with the Eight Immortals. These objects are:
- Fan (associated with Han Zhongli)
- Lotus (associated with He Xiangu)
- Sword (associated with Lu Dongbin)
- Flower Basket (associated with Lan Caihe)
- Flute (associated with Han Xiangzi)
- Gourd (associated with Tie Guaili)
- Castanets (associated with Chao Guojiu)
- Drum (associated with Zhang Guolao)

These objects are portrayed as magical tools used by the Eight Immortals to overcome evil forces. Additionally, scenes depicting Penglai—the fabled Taoist “island of the immortals” represented by three mountains rising from a sea of waves—are also common.

Conclusion

Ming blue-and-white ceramics serve as a visual lexicon of Chinese cultural values, blending artistry with profound symbolism. From agrarian hopes to scholarly ambitions and spiritual yearnings, these motifs reveal the interconnectedness of art, language, and belief in Ming society.

Written by NK Koh. Edited with ChatGPT and Deepseek (6 Feb 2025)