Page 125 - A Re-examination of Late Qing Dynasty Porcelain, 1850-1920 THESIS

wealth, honor, and high social status. While one peony on the bowl has bloomed, another

peony is still closed, waiting to blossom. This aspect could be considered a

representation of Yuan’s upcoming prosperity now that he controls imperial China.

Similar to other examples analyzed, a soft use of enamel color creates a painterly effect.

A brush delicately applied each flower petal, resulting in visible brushwork and gradient

colors throughout the vessel. One of the most notable aspects of this bowl is the

inclusion of an interwoven green vine located behind the peony. The style of this vine is

reminiscent of the spring dayazhai pattern, which includes a vine of interwoven wisteria.

This distinct reference back to Cixi is unmistakable, emphasizing Yuan’s clear

appropriation of styles that Cixi successfully patronized during her life.

This private collection supports the idea that floral porcelain imagery was a

critical aspect of the wares Yuan patronized. Other examples exhibit nearly all of the

aspects associated with the porcelain Cixi patronized. A large porcelain vase with a

baluster-shaped body, tapered neck, and flared upper rim demonstrates another clear

appropriation of late Qing imagery (Figure 37). Again, there is a reliance on large

peonies, which were iconic flowers on Cixi’s porcelain. The flowers on this vessel occur

several times, spreading around the body of the vase. All of the imagery relies on a soft

famille rose palette. Along with the peonies are several chrysanthemums, which are not

fully bloomed. Together these flowers represent a wish for long life, wealth, and

honor. 154 The leaves and vines mimic the interwoven pattern seen on the spring dayazhai

design as well as the previous Hongxian example. Looking specifically at the application

of enamel, it is evident that a painterly effect was used to create washes of color that are

154 Bartholomew, Hidden Meanings in Chinese Art, 148.

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