Literary notes about ming (AI summary)
In literary contexts that focus on aesthetics, “Ming” is often appropriated as a descriptor for distinctive hues reminiscent of traditional Chinese art. For example, several authors refer to “Ming yellow” to evoke a luminous, warm tone similar to that found in iconic porcelain glaze—a color that carries both cultural and historical resonance [1][2][3]. Similarly, “Ming red” is employed to suggest a deep, ruby brilliance that enhances the depiction of refined artistic craftsmanship [4]. This use of color terminology highlights the enduring influence of Ming-era aesthetics in literature, where such descriptors not only recall a celebrated period but also subtly convey a mood of elegance and cultural depth.
- SEE Marquand, John P. Ming yellow.
— from U.S. Copyright Renewals, 1961 July - December by Library of Congress. Copyright Office - WELCH, CHRISTINA M. Ming yellow.
— from U.S. Copyright Renewals, 1963 January - June by Library of Congress. Copyright Office - Ming yellow.
— from U.S. Copyright Renewals, 1962 January - June by Library of Congress. Copyright Office - But it was rather the Ming red, sous couverte , that made from ‘powdered rubies of the West,’ that he professed to copy.
— from Porcelain by Edward Dillon
