Page 205 - A Re-examination of Late Qing Dynasty Porcelain, 1850-1920 THESIS

production-line style. Rather than bearing repeat patterns, each piece is different – even

pairs are complementary but never identical or mirror-symmetric.” 266 These wares have

a direct connection to the styles produced later during the reign of Cixi and Yuan Shikai.

The painters of porcelain during this time looked back to the styles cultivated in

falangcai, drawing direct inspiration for the styles of the late Qing. The clear connection

between wares of the late Qing and the falangcai style of enamel leads this study to find

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that the porcelain produced in the late 19 and early 20 centuries was intended to
achieve a similar level of distinctive imagery. This is best exhibited by the dayazhai

wares that focus on a similar bird-and-flower design and rely heavily on intricate

brushwork to create a highly ornate design. The idea of continuing a tradition that valued

individuality suggests that much of the porcelain produced during the late Qing dynasty

was not created on a mass-produced standard and was in fact patronized to achieve a

specific aesthetic.

Connections within the Sir Percival David collection progress beyond the wares

produced during Cixi’s era. Porcelain created after Cixi’s reign shares distinct

commonalities with wares created during her rule, bridging the high standards of the late

Qing and the wares produced in the early republic. One of the best examples within the

collection is a pair of small porcelain vases with pear-shaped bodies and fluted upper

rims on splayed foot rings (Figure 78). Both vases are exquisitely painted in shades of

brown and green enamel, with one creating the image of a cricket and the other a cicada.

Each vessel has an iron-red mark on the base dating to the Hongxian era. Accompanying

this mark is a second iron-red seal that reads Jurentang, meaning “the hall where

266 Krahl, 61.

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