Page 182 - A Re-examination of Late Qing Dynasty Porcelain, 1850-1920 THESIS

paintings and similarities to the previously analyzed spring dayazhai motif (Figure 16).

Once again, a strong reliance on the peony is evident. The peony is considered the king

of flowers and represents wealth and good fortune. The repetition of the peony

throughout the works Cixi commissioned indicates a clear wish for the positive attributes

associated with the peony to occur during her reign. The inclusion of wisteria serves as a

representation of new life. The numerous petals of the wisteria flower are often

synonymous with spring and summer, connecting the vast number of petals to the growth

associated with those seasons. The imagery included on the porcelain also integrates a

bird into the motif, again drawing a clear connection to the traditional aspects of Chinese

bird-and-flower painting. The magpie depicted is considered a messenger of good luck,

joy, or even happiness. The positive iconography found within the dayazhai bowl serves

as a reflection on Cixi herself. The good wishes, happiness, and luck that are conveyed

within the imagery were meant to be associated with her and her ability to rule China.

The close connection achieved between the imagery found on both the dayazhai and the

painting clearly unite the media of painting and porcelain, with the key connection

between the two being Cixi’s patronage. The empress dowager repetitively incorporated

the same styles, patterns, iconography, and overall aesthetics in both art forms, creating a

distinct, delicate style that had not existed prior to Cixi’s reign. The reliance on bird-and-

flower motifs is frequent, linking back to the traditional bird-and-flower paintings found

in China. The innovation behind Cixi’s style followed some of the elements associated

with Qianlong’s porcelain trajectory but it is evident that Cixi’s porcelain was innovative

and progressed further than scholar’s have previously acknowledged. While her motifs

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