Pair of Ming Dynasty Glazed Terracotta Roof Tiles

Upon leading a victorious rebellion against the foreign Mongul rulers of the Yuan Dynasty, a peasant named Zhu Yuanzhang seized control of China and founded the Ming Dynasty in 1368. As emperor, he founded his capital at Nanjing and adopted the name Hongwu as his reign title. Hongwu, literally meaning “vast military,” reflects the increased prestige of the army during the Ming Dynasty. Due to the very realistic threat still posed by the Mongols, Hongwu realized that a strong military was essential to Chinese prosperity. Thus, the orthodox Confucian view that the military was an inferior class to be ruled over by an elite class of scholars was reconsidered. During the Ming Dynasty, China proper was reunited after centuries of foreign incursion and occupation. Ming troops controlled Manchuria, and the Korean Joseon Dynasty respected the authority of the Ming rulers, at least nominally. Like the founders of the Han Dynasty (206 B.C.- 220 A.D.), Hongwu was extremely suspicious of the educated courtiers that advised him and, fearful that they might attempt to overthrow him, he successfully consolidated control of all aspect of government. The strict authoritarian control Hongwu wielded over the affairs of the country was due in part to the centralized system of government he inherited from the Monguls and largely kept intact. However, Hongwu replaced the Mongul bureaucrats who had ruled the country for nearly a century with native Chinese administrators. He also reinstituted the Confucian examination system that tested would-be civic officials on their knowledge of literature and philosophy. Unlike the Song Dynasty (960-1279 A.D.), which received most of its taxes from mercantile commerce, the Ming economy was based primarily on agriculture, reflecting both the peasant roots of its founder as well as the Confucian belief that trade was ignoble and parasitic. Culturally, the greatest innovation of the Ming Dynasty was the introduction of the novel. Developed from the folk tales of traditional storytellers, these works were transcribed in the everyday vernacular language of the people. Advances in printmaking and the increasing population of urban dwellers largely contributed to the success of these books. Architecturally, the most famous monument of the Ming Dynasty is surely the complex of temples and palaces known as the Forbidden City that was constructed in Beijing after the third ruler of the Ming Dynasty, Emperor Yongle, moved the capital there. Today, the Forbidden Palace remains one of the hallmarks of traditional Chinese architecture and is one of the most popular tourist destinations in the vast nation. Glazed sculptural tile are today considered one of the hallmarks of classical Chinese architecture. However, despite their popularity in modern times, they were relatively scarce until after the then end of the Tang Dynasty. Even then, during the Song and Yuan Dynasties, they were still infrequently used. It was not until the rise of the Ming Dynasty that glazed sculptural tiles became a popular decorative devise extensively employed in temples, altars, imperials palaces, and gardens. Beijing became the center of glazed architectural tile production during the Ming period, and colorfully decorated pagodas began to sprout up around this region. Eaves and entryways were decorated with vibrant sculptures that served both decorative and sometimes religious purposes. On temples and palaces, representations of mounted warriors and snarling dragons were meant to ward off evildoers, of both the physical and spiritual kind.

During the Ming Dynasty of China, glazed terracotta tiles were used to decorate important buildings such as palaces and temples. These artworks, which depict middle-aged men riding on dragons through an elaborate and colorful glaze, are part of the Ming Dynasty architectural repertoire. These items, which are a kind of Ming Sancai, are made by using a technique called “Fahua.” The craftsmen of the Ming Dynasty used both cast frames and manual work to create these delicate designs and baked them at high temperatures. They were then painted in splendid green and yellow glazes and baked again at low temperatures. It is presumed that the middle-aged men flying over the clouds on dragons represent gods of Taoism, or the heavenly generals of defeating evil spirits. These sculptures, display male figures wearing headdresses, dark eyebrows, and wrinkled faces. The body of a golden dragon carrying a man emphasized its dynamic movement through its wavelike figure, covered with delicate scales. Also, the fluttering sleeves of clothes and the fluttering fins show the feeling of movement with the clouds depicted at the bottom of the work. With its roaring mouth, sharp teeth and sparkling eyes, the shape of dragon served to protect against the encroachment of evil spirits.