Page 202 - A Re-examination of Late Qing Dynasty Porcelain, 1850-1920 THESIS

symbolism, establishes thematic recurrence within Cixi’s porcelain. Given the

provenance associated with the collection, it is highly likely that this dayazhai bowl was

acquired directly from the Forbidden City. It is plausible that the bowl had a direct

connection to the empress dowager, therefore, establishing the bowl as a strong

representative of late Qing designs within the Sir Percival David collection.

After personal examination of the Sir Percival David collection it becomes

evident that one of the strongest aspects of the grouping is the range of wares dating to

the late Qing period and into the early republic. Few individuals felt that this era was

worthy of extensive research or a collector’s attention. David’s adherence to a broad

scope allowed for his collection to include these frequently overlooked objects, creating a

dramatic visual timeline of porcelain transitioning into the modern era. After the

abdication of Puyi in 1911, the Qing dynasty ended, as did imperial rule in China. The

imperial kilns at Jingdezhen had diminished patronage, because imperial patronage

ceased to exist. Scholars have chosen to neglect this era, claiming that imperial-quality

porcelain could not exist outside of imperial China. However, this study reaches an

alternative conclusion. Historically, the kilns at Jingdezhen did continue to produce

porcelain that was for official and commercial use after the Qing period. Additionally,

the kilns reopened under the brief patronage of Yuan Shikai (1859–1916), who ruled as

the Hongxian Emperor for a brief 82 days. The Jingdezhen kilns continued to utilize the

same kilns, craftsmen, artists, and raw materials that were in operation during the Qing

dynasty. Due to these circumstances, many of the wares produced offer a visual

continuation of imperial styles beyond the reign of the Qing.

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