Page 122 - A Re-examination of Late Qing Dynasty Porcelain, 1850-1920 THESIS

Hongxian reign mark. Both vases have a pronounced shoulder and a narrow neck,

leading to a flared, garlic-shaped mouth. The base and neck of the vessels are finished in

bright pink enamel. The set has nearly identical white bands across the bodies of the

vessels and exhibits the bird-and-flower motif. Wares made during the republic were

often created in pairs, with the set typically creating a perfect mirror image. Within the

scene, trees grow with blossoming flowers emerging from the ground. Roses and

chrysanthemums appear in shades of pink, complementing the base and neck of the

vases. Roses have numerous interpretations. One of the most prevalent is the translation

changchunhua 長春花, meaning “flower of eternal youth.” The name originates from the

long blooming season associated with roses. 150 Similar to the roses’ meaning, the

chrysanthemum was a symbol favored by Cixi that represents longevity. Along with the

flowers, magpies move within the scene. Unlike the previous example, this pair appears

to be more painterly. The enamels applied are more heavily shaded, and artistic

expression is evident in the movement created within the space. These vases not only

connect strongly to the iconography Cixi cultivated, but they also appear to be

reminiscent of earlier Western painting techniques that were popular during the earlier

Qing era. The motif references the designs cultivated in the dayazhai wares, which

incorporated a variety of bird-and-flower decorations.

Within the category of bird and flower detailed porcelain, it is evident that

Hongxian wares shared another connection to the porcelain patronized by the empress

dowager. The wares produced during Yuan’s reign emulate the styles found in paintings

150 Terese Tse Bartholomew, Hidden Meanings in Chinese Art (San Francisco: Asian Art
Museum of San Francisco, 2006), 219. Other translations for the term rose include yuejihua
meaning monthly rose.

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