The Tradition · Ming Dynasty · Zhengtong–Tianshun
1436 – 1464
Between Order and Absence
An unsettled interregnum after Xuande—forms persist, but control loosens and proportion begins to drift.
Historical Context
The three reigns between Xuande and Chenghua — Zhengtong, Jingtai, and Tianshun — are collectively known as the ‘Interregnum’ in Chinese ceramic scholarship. Imperial kilns appear to have operated under reduced oversight, and the prohibition on reign marks during parts of this period means that surviving wares are exceptionally difficult to attribute.
The absence of reign marks makes Interregnum wares among the most contested in Ming scholarship — and among the most vulnerable to misattribution. For Blue Fir, these periods require particularly careful archive documentation. Stylistic continuity with Xuande provides the primary attribution framework, but confidence levels remain lower than for fully documented reigns.
Material Development
Cobalt control declines — tone shifts from Xuande sapphire toward greyish-blue with uneven pooling
Reign mark prohibition — imperial authentication system suspended for parts of the period
Underglaze-red production continues — copper firing remains erratic, results highly variable
Form proportions begin to drift — Xuande discipline loosens at potter and finishing stages
Representative Forms
Selected Works
Period Position
Zhengtong–Tianshun occupies the structural gap between Xuande's imperial codification and Chenghua's miniaturised refinement. Forms persist with recognisable Xuande lineage, but kiln control and decorative discipline visibly slacken. The absence of reign marks during much of this period makes attribution scholarly territory rather than documented fact.