Page 127 - A Re-examination of Late Qing Dynasty Porcelain, 1850-1920 THESIS

differs from other identified examples, it does utilize a nearly identical insect. In order to

maintain the ideals set by Cixi’s patronage that auspicious symbols should be utilized, the

insects were carefully selected to impart distinct meaning. The cricket has a long history

in China: crickets were frequently kept as pets and revered for their fighting ability. The

term xishuai 蟋蟀 is a pun that has dual meanings. One meaning for xi is “happiness,”

while the other is “auspicious.” 157 Similarly, the cicada as a symbol has ancient origins.

Often utilized in funerary rituals in an amulet form, the cicada (chan 蟬) represents

cyclical resurrection. 158 The combination of these two insects could indicate Yuan’s

desire to resurrect China’s monarchy. In this instance, Yuan selected a motif that had

specific meaning for his reign. The ideals Yuan held as a patron are evident within this

design, providing a visual representation of a style that occurred prominently within the

Hongxian era of porcelain production.

The porcelain produced during this era is characterized by forms, painted

imagery, and overall craftsmans skill that match those of works created in earlier dynastic

China. Although it is evident that change began after the Qing reign, the wares produced

in the Hongxian era and into the early republic show an originality generated from the

influence of porcelain’s new primary patron. During Yuan’s life, Westernization was a

key influence. He studied Western techniques during his military career. Historically,

Yuan also encountered a revolutionary push for both Westernization and modernization.

While the pursuit of modern and Western styles was not unique to Hongxian porcelain,

grasshopper. While similar in appearance, grasshoppers are known to have short antennae
making this representation clearly a cricket.
157 Eva Ströber, Symbols on Chinese Porcelain: 10,000 Times Happiness (Keramiekmuseum
Princessehof: Arnodsche Art Publishers, 2011), 97.
158 Bartholomew, Hidden Meanings in Chinese Art, 178.

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