Page 124 - A Re-examination of Late Qing Dynasty Porcelain, 1850-1920 THESIS

the development of her dayazhai patterns. While the painted styles differ slightly, the

same expressive quality is still visible in both works. Although differences are visible

between the motifs, both types of porcelain patronage generally indicate that a similar

style transitioned from Cixi’s rule to Yuan’s, connecting these two patrons not only

chronologically but in terms of artistic aesthetic and technique. During the Hongxian

reign, Cixi’s motifs were not just imitated, they formed the foundation from which

craftsmen drew inspiration and sought to innovate the motifs.

Expanding beyond the Weishaupt collection, it became obvious that the desire to

incorporate bird-and-flower painting styles originating from Cixi’s late Qing reign could

be proven using other porcelain collections. A private collection from the Phoenix region

provides more evidence to support the imperial caliber of Hongxian wares. 153 This

collection includes approximately 49 pieces of porcelain, allowing for a major visible

representation of Hongxian-era wares. Examining the entire collection dispels the

previous classification of poor quality assigned to Hongxian porcelain by displaying a

wide range of styles, forms, and artistic caliber. The most prevalent motif within this

private collection is depictions of floral imagery, which connect back to the overall theme

of birds and flowers. This connection is evident in a small porcelain bowl from the

Phoenix collector that exhibits an intricate floral design in a famille rose palette (Figure

36). The bowl has a Jurentang reign mark. The floral motif wraps almost entirely

around the vessel, leaving limited blank space. The abundance of flowers, leaves, and

scrolling vines directly references the styles Cixi cultivated. The primary flowers on the

vessel are peonies, which are considered the kings of flowers. The peony can represent

153 See Appendix A for full list of the collection.

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