Page 130 - A Re-examination of Late Qing Dynasty Porcelain, 1850-1920 THESIS

developed by Cixi. Instead, the majority of these figural scenes delve into mythological

references or generally known stories. While figures can become the focal point of a

porcelain motif, they often accompany additional elements such as landscapes or

auspicious symbols. A figural motif that this study repeatedly observed was scenes of

children, typically playing in a garden environment. One example of this type is a vase

with a Hongxian reign mark dating it to 1916 (Figure 41). The vase is covered with

imagery, with limited empty space. One side of the vase reveals a garden crowded with

objects including a large garden rock, tall trees, and an architectural perimeter fence

surrounding several boys playing. Along the other side of the vase an open grassy area is

painted featuring garden rocks in the distance. Boys play games in the grassy field which

serves as a popular decorative motif during both the Ming and Qing dynasties. The

imagery of boys playing directly refers to a traditional Confucian ideal that requires

numerous sons in order to perpetuate the family lineage and maintain ancestor worship.

Decorative motifs of boys could also visually represent a desire for noble sons that

achieve success. 162 The vase maintains the standards associated with late Qing vessels,

namely very limited blank space, auspicious symbols, and vivid colors. The introduction

of various figures on porcelain can be considered another way that Yuan patronized the

field of porcelain, moving the form in a slightly different direction. The focus on figures

that were found in myths, stories, and folktales provides an indication that these objects

may have been meant to be understood by a wider audience than previous imperial rulers

anticipated. The symbols associated with this particular motif mirrors the political desire

that Yuan held to return to the previous glories of Qing imperial rule. A return to this

162 For further discussion of motifs featuring boys, see Ann Elizabeth Barrott Wicks, ed. Children
in Chinese Art (Honolulu: University of Hawaii), 2002.
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