Religious Influence on Art during the Ming Dynasty (1368-1644)
The Ming dynasty lasted almost three hundred years (1368-1644). During this long period the emperors held different religious beliefs and interests. Their personal inclinations influenced court ritual, temple patronage, and in many cases also the art produced for the palace, including porcelain and bronze ritual vessels.
Hongwu 1368-1398
- Strong focus on Confucian state ideology.
- Suspicious of organised Buddhism but tolerated Daoist ritual specialists.
- Art reflects conservative, moralising values and state ritual. No strong personal Buddhist program in porcelain.
Yongle 1403-1424
- Major patron of Tibetan Buddhism and presented himself as a universal Buddhist ruler.
- Large production of Sino-Tibetan gilt bronzes with Sanskrit or Tibetan inscriptions.
- Introduction of white ritual porcelain for Buddhist offerings, including the monks cap ewer form.
- Commissioned Buddhist sutra editions and funded major temple projects.
Xuande 1426-1435
- Continued strong support of both Buddhism and Daoism.
- Famous for high quality ritual bronzes used on Buddhist and Daoist altars.
- Porcelain decoration commonly includes Buddhist lotus, lions, vajras, and auspicious motifs.
Mid Ming Emperors
- Chenghua, Hongzhi, and others supported both Buddhism and Daoism.
- Religious influence on porcelain is present but not as strongly programmatic.
- Auspicious imagery, Buddhist figures, and Daoist immortals appear regularly.
Zhengde 1506-1521
- Eclectic interests, strong curiosity for foreign cultures.
- Linked to Muslim influences inside the palace and also involved with Tibetan Buddhist teachers.
- Porcelain with Arabic and Persian inscriptions, Islamic vessel shapes, and non-figurative Islamic ornament.
- Supported a Tibetan Buddhist temple within the palace precincts.
Jiajing 1522-1566
- Devout Daoist with a strong interest in alchemy and longevity practices.
- Largest and clearest Daoist program in Ming imperial art.
- Porcelain decoration includes Daoist talismans, Eight Trigrams, immortals, cranes, and shou characters.
- Commissioned Daoist scriptures and ceremonial items for Daoist jiao rituals.
Longqing 1567-1572
- Short reign with balanced support for traditional state cults.
- Art production continues earlier trends without strong personal religious direction.
Wanli 1573-1620
Inclination is a complex mix. Inside the court he is linked with both Buddhist and Daoist patronage, and at the same time he is the emperor who first receives Jesuit gifts with Christian images. (Cambridge University Press & Assessment)
Buddhist side: large imperial projects to print and bestow Buddhist canons, and strong Buddhist patronage by his mother and consorts, including gifts of embroidered robes, gilded statues, and temple donations.
Daoist side: commissions of Daoist scriptures such as the Yushu jing with elaborate frontispieces and gold ink copies, intended to accumulate merit and divine protection. (Academia)
Christianity: Jesuits led by Matteo Ricci present clocks, Western paintings of Christ and the Virgin, crosses, and world maps to the Wanli court. These objects enter the imperial collection, and Western Christian iconography begins to circulate in elite circles, later echoed in some late Ming and early Qing artworks and porcelain. The emperor does not convert, but the visual vocabulary arrives at court at this time. (Wikipedia)
- A complex mix of Buddhist and Daoist patronage.
- Buddhism strongly supported by his mother and consorts. Many temple donations and financed printing of Buddhist texts.
- Commissioned Daoist scriptures written in gold ink.
- First Ming emperor to receive Christian objects through Jesuit envoys, introducing Christian iconography to the palace, though he did not convert.
Late Ming and Christianity
No Ming emperor is known to have become Christian, but by the late sixteenth and early seventeenth century some princes, officials, and literati convert. Christian motifs begin to appear in small numbers on Chinese objects, often in circles close to the Jesuits or in export contexts.
Islam has a longer presence at court as a community, especially among eunuchs and military officers. Zhengde is the clearest case where this leaves a direct imprint on imperial taste, but Islamic inscriptions and shapes in porcelain, metalwork and textiles also respond to export markets and diplomatic gifts, not only to the emperor’s private belief.
- No Ming emperor converted, but some princes and officials did in the late period.
- Christian motifs occasionally appear in art and on export porcelain close to Jesuit circles.
Islam at the Ming Court
- Muslim communities served at court, especially among eunuchs and military officers.
- Islamic inscriptions and shapes in porcelain also reflect export markets and diplomacy.
- Zhengde remains the emperor where Islamic influence is most visible in imperial art.
Sources consulted
- Clunas, Craig: Art in China.
- Kerr, Rose: Later Chinese Porcelain.
- Rawson, Jessica (ed.): The British Museum Book of Chinese Art.
- Finlay, Robert: The Pilgrim Art.
- Watt, J.C.Y. and Wardwell, A.E.: When Silk Was Gold.
- Chinese Buddhist Art and Tibetan-Ming relations (various museum catalogues).
- Jesuit-Chinese court relations: studies on Ricci, Schall, and the Wanli court.
- Ekolsund research circle and curatorial notes from the Kempe Collection (personal communication as relevant).
