Page 175 - A Re-examination of Late Qing Dynasty Porcelain, 1850-1920 THESIS

Based on the early inventories of the Palace Museum, only 10,000 pieces of porcelain

were recorded, proving that many porcelain wares left the original collection. 225

3.6 An Argument for Continuation

It is clear that Qianlong was a great patron of the arts, especially in terms of his

active role in porcelain production. During his time as emperor, Qianlong supported

porcelain production and ultimately contributed to the prestige associated with the

Golden Age of porcelain in China. The porcelain of this time exhibited a mastery of

previous styles including thin potting, molded details, complex enameled decoration, and

versatile designs. 226 The aspect that elevated these wares even further was the caliber of

painting exhibited. Painting techniques were appropriated onto porcelain, creating strong

brushwork. The brushwork turned the flat styles of earlier porcelain into more vibrant,

dimensional motifs. The high standards associated with the Golden Age resulted in the

premier porcelain of China that, to date, has never been surpassed. However, this study

challenges the assumption that late dynastic Qing porcelain declined due to a lack of

imperial patronage. Porcelain quantity declined; however, quality remained high after

Qianlong’s reign. As explored in the first chapter, historical evidence proves that

Empress Dowager Cixi filled the role of imperial patron of the arts successfully. Due to

her continued efforts, porcelain standards remained high after the peak of the Golden

Age. The level of artistic quality, along with direct imperial patronage, remained

consistent with that of previous rulers. These successes are evidenced by porcelain

225 Scott, “The Chinese Imperial Collections,” 27.
226 Yi-hua Li, Kangxi, Yongzheng, Qianlong: Qing Porcelain from the Palace Museum Collection
(Forbidden City Publishing House, 1989), 13.

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