The best known of the erotic novels is the Chin-p'ing-mei which, for reasons of our own censors can be published only in expurgated translations. It was written probably towards the end of the sixteenth century. This novel, as all others, has been written and re-written by many authors, so that many different versions exist. It might be pointed out that many novels were printed in Hui-chou, the commercial centre of the time.
The short story which formerly served the entertainment of the educated only and which was, therefore, written in classical Chinese, now also became a literary form appreciated by the middle classes. The collection Chin-ku ch'i-kuan ("Strange Stories of New Times and Old"), compiled by Feng Meng-lung, is the best-known of these collections in vernacular Chinese.
Little original work was done in the Ming epoch in the fields generally regarded as "literature" by educated Chinese, those of poetry and the essay. There are some admirable essays, but these are only isolated examples out of thousands. So also with poetry: the poets of the gentry, united in "clubs", chose the poets of the Sung epoch as their models to emulate.
The Chinese drama made further progress in the Ming epoch. Many of the finest Chinese dramas were written under the Ming; they are still produced again and again to this day. The most famous dramatists of the Ming epoch are Wang Shih-chen (1526-1590) and T'ang Hsien-tsu (1556-1617). T'ang wrote the well-known drama Mu-tan-t'ing ("The Peony Pavillion"), one of the finest love-stories of Chinese literature, full of romance and remote from all reality. This is true also of the other dramas by T'ang, especially his "Four Dreams", a series of four plays. In them a man lives in dream through many years of his future life, with the result that he realizes the worthlessness of life and decides to become a monk.
Together with the development of the drama (or, rather, the opera) in the Ming epoch went an important endeavour in the modernization of music, the attempt to create a "well-tempered scale" made in 1584 by Chu Tsai-yü. This solved in China a problem which was not tackled till later in Europe. The first Chinese theorists of music who occupied themselves with this problem were Ching Fang (77-37 B.C.) and Ho Ch'êng-t'ien (A.D. 370-447).
In the Mongol epoch, most of the Chinese painters had lived in central China; this remained so in the Ming epoch. Of the many painters of the Ming epoch, all held in high esteem in China, mention must be made especially of Ch'iu Ying (c. 1525), T'ang Yin (1470-1523), and Tung Ch'i-ch'ang (1555-1636). Ch'iu Ying painted in the Academic Style, indicating every detail, however small, and showing preference for a turquoise-green ground. T'ang Yin was the painter of elegant women; Tung became famous especially as a calligraphist and a theoretician of the art of painting; a textbook of the art was written by him.
Just as puppet plays and shadow theatre are the "opera of the common man" and took a new development in Ming time, the
wood-cut and block-printing developed largely as a cheap substitute of real paintings. The new urbanites wanted to have paintings of the masters and found in the wood-cut which soon became a multi-colour print a cheap mass medium. Block printing in colours, developed in the Yangtze valley, was adopted by Japan and found its highest refinement there. But the Ming are also famous for their monumental architecture which largely followed Mongol patterns. Among the most famous examples is the famous Great Wall which had been in dilapidation and was rebuilt; the great city walls of Peking; and large parts of the palaces of Peking, begun in the Mongol epoch. It was at this time that the official style which we may observe to this day in North China was developed, the style employed everywhere, until in the age of concrete it lost its justification.
In the Ming epoch the porcelain with blue decoration on a white ground became general; the first examples, from the famous kilns in Ching-te-chen, in the province of Kiangsi, were relatively coarse, but in the fifteenth century the production was much finer. In the sixteenth century the quality deteriorated, owing to the disuse of the cobalt from the Middle East (perhaps from Persia) in favour of Sumatra cobalt, which did not yield the same brilliant colour. In the Ming epoch there also appeared the first brilliant red colour, a product of iron, and a start was then made with three-colour porcelain (with lead glaze) or five-colour (enamel). The many porcelains exported to western Asia and Europe first influenced European ceramics (Delft), and then were imitated in Europe (Böttger); the early European porcelains long showed Chinese influence (the so-called onion pattern, blue on a white ground). In addition to the porcelain of the Ming epoch, of which the finest specimens are in the palace at Istanbul, especially famous are the lacquers (carved lacquer, lacquer painting, gold lacquer) of the Ming epoch and the cloisonné work of the same period. These are closely associated with the contemporary work in Japan.