Page 196 - A Re-examination of Late Qing Dynasty Porcelain, 1850-1920 THESIS
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porcelain.  The popularity of this exhibition prompted the purchase of many of these

                   objects, leading to several museums in Europe adding to their own collections.  China’s


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                   involvement in exhibitions during the late 19  century connects to the timeline of the
                   empress dowager attempting to utilize artistic patronage to promote a Westernized and


                   modern China.  Many of the empress dowager’s interactions with the West resulted from

                   this artistic exchange, making her one of the most globally influential patrons of Chinese


                   porcelain.

                          During the 1870s and 1880s, China actively participated in both small and large


                   exhibitions worldwide.  While art of a wide variety was exhibited, it was not until

                   London’s International Exhibition of Chinese Art in 1935 and 1936 that an exhibition


                   included a wide array of Chinese ceramics. 251   China had the unique role of actually

                   deciding which wares would be sent to the exhibition, and therefore they determined that

                   these wares had to possess superb form, artistic drawing, and glaze color.  It seems that


                   even though Western collectors felt they were viewing an exhibition cultivated by

                   Western collectors, a great deal of what was displayed was controlled, and therefore


                   influenced, by China.  This occurrence perhaps emphasizes some of the subtle influences

                   of the Chinese connoisseur on the Western market.  Therefore, imperial rulers like the


                   empress dowager and Yuan Shikai actively shaped not only the wares produced in China,

                   but those viewed by the West.  The relationship cultivated between these patrons and


                   porcelain shaped the way the West encountered and understood porcelain.

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                          By the 19  century, the market for Chinese porcelain had expanded even further.

                   Sales had transitioned from being predominantly export industries reliant on global


                   251  Honey, The Ceramic Art of China and Other Countries of the Far East, 3. The ceramics in the
                   exhibition were predominately porcelain dating to the Ming dynasty.
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