Page 180 - A Re-examination of Late Qing Dynasty Porcelain, 1850-1920 THESIS

depiction conveys Cixi’s imperial status while also supporting her reign with auspicious

meanings.

By this time in history, women had practiced painting and calligraphy in China

for centuries, yet few earned recognition for their contributions to the arts. The lack of

acknowledgement of female artists might be the reason the empress dowager was

frequently denied credit for her paintings. Ironically, as the reign of the empress dowager

progressed, a shift began to occur within China. Throughout Cixi’s reign, women slowly

became more recognized for their artistic abilities. This study views the shift as a direct

result of the empress dowager’s influence. She continually supported and provided

patronage to female artists, allowing them to thrive during her time in power. Examples

of these acts of a female patron supporting a female artist survive within Oxford’s

Ashmolean Museum of Art and Archaeology. Miao Jiahui, who was previously

mentioned as one of Cixi’s favorite artists, is represented in the collection by her work

Bouquet of Peonies (Figure 65). Miao was the best documented of these female artists

who were able to avoid anonymity thanks to the direct support of the empress dowager.

The hanging scroll depicts a large group of peonies. The flowers, painted in red, white,

and yellow, are grouped together and tied with delicate blue ribbons. Each flower is

depicted in a soft gradient color effect that closely resembles the soft application of

famille rose enamel within Golden Age porcelain. The light hand and gentle brushwork

is distinct, suggesting a subtle nod to the gender of not only the artist but possibly the

female patron behind the painting. Another key element is the inclusion of the peony.

The peony recurs as one of the flowers most frequently associated with Cixi and can be

found on numerous examples of dayazhai wares she commissioned.

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