Page 134 - A Re-examination of Late Qing Dynasty Porcelain, 1850-1920 THESIS
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ultimately championed by Yuan Shikai during the Hongxian period.  Cixi utilized

                   originality in her incorporation of traditional motifs, while Yuan attempted to recreate her


                   styles while appropriating traditions.  Yuan’s subtle porcelain innovations strongly

                   support the argument for his acceptance as an imperial-level patron.  During the


                   production of Hongxian porcelain, Yuan continually looked to past imperial porcelain

                   successes to formulate the styles, imagery, and aesthetics associated with the Hongxian


                   Emperor.  The connection that exists between Cixi and Yuan creates continuity between

                   the technical end of the Qing dynasty and the establishment of the early republic.  The


                   porcelain produced by both of these patrons exhibited modernization and a desire to

                   produce wares that were unique to their personal reigns, emphasizing that the patronage


                   of these two individuals was a catalyst for the modern porcelain industry in China.

                          Based on the porcelain analyzed, it is evident that Hongxian wares varied widely,

                   exemplifying the breadth of knowledge possessed by the artists behind each piece.  The


                   wide array of collections analyzed for this study also allowed patterns to emerge.  The

                   emergence of repetition throughout the various collections viewed allowed for the


                   shaping of the characteristics of porcelain from this era.  The porcelain itself ranges in

                   thickness.  However, after personally inspecting numerous wares, it is clear that a thicker


                   porcelain body was not indicative of inept craftsmanship.  The skill of porcelain potting

                   during this era is most evident in the pieces that are eggshell in form.  The greatest skill


                   evident in the Hongxian wares is in the application of enamel to the vessel’s surface.

                   Building off of the standards set by Cixi, the wares dating to the Hongxian era embraced


                   a wide variety of enamel colors and applied motifs widely, leaving limited empty space

                   on the porcelain surface.  Overall, brushwork was extremely delicate, which is a direct



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