Page 135 - A Re-examination of Late Qing Dynasty Porcelain, 1850-1920 THESIS

connection to the styles cultivated by Cixi’s painterly approach to porcelain. Based on

the grouping of wares investigated, it is evident that the painting on each porcelain is

extremely diverse, making it difficult to identify a distinct set of images that were iconic

representations of Hongxian porcelain. Landscapes, figures, and auspicious imperial

iconography are prevalent. However, the major images found within the wares

investigated are illusions to the bird-and-flower painting genre. Birds and flowers were

the most repeated imagery found, with some examples also including butterflies or

insects. The influence of the empress dowager was clearly a major inspiration for the

styles cultivated during the Hongxian era. The expansion to include new styles that were

not as popular in the late Qing, such as landscapes, can be attributed to Yuan’s specific

preferences. However, even designs that depict landscapes were frequently seen in a

grisaille style, which is associated with a pattern cultivated by Cixi in her dayazhai

designs. Ultimately, the porcelain of the late Qing dynasty and the early republic era

share distinct commonalities. It is clear from these examples that porcelain production

maintained an imperial caliber during the early Republic due to the patronage of Yuan.

The artistic quality of porcelain cultivated by Yuan during his reign allows him to stand

out as an imperial-level patron, extending the trajectory of imperial porcelain patronage

further than was previously accepted.

2.6 Conclusion

After the last true imperial patron was removed from power, the Chinese

porcelain industry encountered dramatic change. For the first time in centuries it was left

without imperial patronage. According to kiln records from the time, “With the failure of

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