Page 114 - A Re-examination of Late Qing Dynasty Porcelain, 1850-1920 THESIS

of the clay itself, settling for only the purest white porcelain in order to achieve an

imperial aesthetic. The desire for painted wares indicates that the order was to be painted

by artists rather than being produced in a mass quantity with poor craftsmanship. Only

the clay and workforce originated within Jingdezhen, while the enamel colors were taken

from palace storage. 134 These specifications indicate the imperial quality of the enamel

used during the production process. The Jingdezhen Taoci Shigao indicates that within

the commission, approximately 100 pieces of porcelain were to be completed in a falang

enamel style. 135 The falang enamel palette relied on foreign colors, connecting

stylistically to the wares produced during the early Qing dynasty. Guo adhered to these

high standards and gathered the most skilled potters along with painters who were

experienced in porcelain decoration. 136 This directly connects to the artistry developed

during the Qing dynasty, in which artists within the palace actually completed the

painting on imperial porcelain.

2.4 Connecting to Past Patrons

While scholars continually discredit Yuan as an inactive patron, close inspection

reveals that Yuan was invested in the arts of China. During his presidential rule, Yuan

established an art museum within the Forbidden City. The museum was housed in the

military officials’ Hall of Audience and was open to the public. 137 The objects were

134 Zhao Ruzhen, Guwan zhinan (A Guide to Antiques), 1942, 9.
135 According to the Jingdezhen taoqi shigao, the falang porcelain were the only documented
wares to be completed. The records indicate that Guo Baochang oversaw their production in
1915. This study was unable to find any documentation of these porcelain vessels within known
collections.
136 Rose Kerr, Chinese Ceramics Porcelain of the Qing Dynasty 1644-1911, 127.
137 Juliet Bredon, Peking (Shanghai: Kelly and Walsh, Ltd., 1922), 107.

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