Page 116 - A Re-examination of Late Qing Dynasty Porcelain, 1850-1920 THESIS

composed almost entirely of red enamel decoration. The primary motif depicts large

lotus flowers with an assortment of lanceolate leaves. The lotus represents the ideals of

Buddhism, emphasizing the notion of purity. This symbol was previously encountered

on wares patronized by the empress dowager. Accompanying these designs is a series of

stylized leaf designs that are reminiscent of a ruyi shape. The altar vase was most likely

part of a pair, which was most likely a part of a larger garniture set. Unfortunately, the

locations of all the other pieces of this porcelain set remain unknown. The vase was

presented on Yuan’s behalf to the headmaster of Cheltenham College located in

Gloucestershire, England. 141

The decoration on the altar vase is quite traditional. In comparison to the styles

cultivated during the late Qing, the use of colorful enamel and Western painting

techniques is not identifiable. The vessel also utilizes a great deal of blank space, which

was seen infrequently in the porcelain produced during Cixi’s reign. Although the altar

vase appears to look toward the past in terms of techniques, it does maintain the heavy

reliance on floral symbolism found throughout the late Qing. These acts of patronage

supported Yuan’s political career, helping him validate his rule over China and provide

the world with a curated view of the country. The fact that Yuan presented some of these

gifts prior to his accession as emperor emphasizes his motivation to gain power within

China. Due to the brevity of his reign, these gifts do not provide the level of

documentation that was available when researching Cixi. However, this study has found

that the act of giving porcelain is consistent in both reigns.

141 Yuan Shikai’s sons attended Cheltenham College, which most likely explains the gift to the
headmaster.

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