Page 128 - A Re-examination of Late Qing Dynasty Porcelain, 1850-1920 THESIS

the ways in which these ideals were pursued do appear to be unique to the era. One style

that exhibits the most originality is the exploration of landscapes on porcelain.

Landscape motifs did not originate during the Hongxian era; however, they were not

frequently used during the previous patronage of Cixi. One pair of porcelain cylindrical

shoulder vases with a Hongxian mark depicts a large-scale panoramic landscape (Figure

39). 159 The pair has a symmetrical arrangement creating a matched pair, which was often

found at this time. The innovative element here is the use of a grisaille color palette.

The dark colors utilized appear to be reminiscent of traditional Chinese ink painting.

Aspects of the landscape combine techniques of tradition with influences from the West.

For example, areas of the landscape appeared stacked on top of one another. The

background stacks above a pure white midground, which then stacks above the

foreground. However, an inspection of the background shows the clear use of linear

perspective, with mountains fading into the distant horizon. As figures move through the

landscape and lake, a sense of animated movement is created. The combination of

techniques along with the vitality embedded within the porcelain create a ware that is

remarkably different from those produced in the late Qing dynasty. The porcelain dating

to Cixi’s reign was predominately ornately decorated with motifs that remained static.

Despite the differences achieved by Yuan’s patronage, aspects of these vases do connect

to styles Cixi cultivated. The use of a rather monochromatic dark palette appears

reminiscent of the grisaille technique within the dayazhai pattern.

Other porcelain examples of landscape depictions emphasize another clear

category of imagery found within Hongxian-era vessels. A pair of vases from the

159 Avitabile, From the Dragon’s Treasure: Chinese Porcelain from the Nineteenth and Twentieth
Centuries in the Weishaupt Collection, 132.
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