Page 133 - A Re-examination of Late Qing Dynasty Porcelain, 1850-1920 THESIS

developing the argument that an imperial-quality patron was responsible for Hongxian

porcelain.

Based on the examples analyzed, a strong identification of Hongxian porcelain

can begin to be categorized. The wares produced span a variety of forms. This research

has found that the most prevalent aspect relating to form is that matched pairs were the

most frequently produced. The porcelain itself is predominately of an imperial caliber,

with more eggshell examples available than examples of thick potting. Exterior enamel

decoration was applied using vivid colors, showing particular favoritism for falangcai 琺

瑯彩 or foreign colors. These colors include the famille rose palette emphasizing a

variety of bright pinks and greens. Even grisalle and sepia-toned enamels were

highlighted with accents of these vivid Western colors, which was not a common

technique prior to the Hongxian era. The motifs generally exhibit birds and flowers,

figures, and traditional auspicious symbols. The unifying factor between the motifs

investigated is a major reliance on shared meaning. Few of the porcelain pieces

investigated were purely decorative in nature. Almost all the porcelain dating to the

Hongxian era exhibits auspicious iconography that conveys a curated vision to anyone

viewing the porcelain.

It is clear that the porcelain produced during the late Qing dynasty and into the

early republic was dominated by the patronage of political figureheads. Empress

Dowager Cixi set a high precedent for patronage, establishing herself not only as a

powerful political figure but also as an authority in the arts. The expressive quality her

commissions exhibit reveals an originality that has often been overlooked. It seems that

Cixi’s aesthetic style transitioned effectively into the early republic era and was

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