Page 212 - A Re-examination of Late Qing Dynasty Porcelain, 1850-1920 THESIS
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                   extends well into the 20  century.  This collection explores the nuances achieved within
                   the wares of the late Qing dynasty and early republic wares.  Previously, this study


                   analyzed the empress dowager’s influence on porcelain by investigating the dayazhai

                   porcelain pattern, which shares a close connection to the styles she patronized in painting.


                   Attributing the dayazhai wares to Cixi’s direct patronage establishes a distinct style that

                   can be associated with her reign.  The dayazhai wares exhibit a reliance on floral imagery


                   that directly connects to the tradition of bird-and-flower painting.  They also embrace a

                   style of femininity, often including auspicious imagery that serves as a representation of


                   Cixi’s power.  While patterns associated with Cixi are quite static, they are highly

                   decorated, filling each vessel with imagery.  The inclusion of such a large amount of


                   imagery on each vessel allowed for limited empty space.  The overall effect of the

                   porcelain vessels having extensive ornamentation heightened the aesthetic Cixi desired to

                   reflect a rich opulence.  Looking beyond the dayazhai wares, several examples of late


                   dynastic wares dating from 1875 to 1900 are decorated using imagery similar to that of

                   the wares produced earlier by the empress dowager.  The continuation of recurring


                   imagery highlights the establishment of a distinct style that continued to thrive.  Looking

                   extensively at a group of three porcelain plates from the Victoria and Albert Museum, a


                   clear visual connection to the dayazhai wares is visible.  The first of these plates is

                   eggshell porcelain painted in overglaze enamels depicting a bird-and-flower scene,


                   drawing directly from the historic bird-and-flower painting of China while also creating a

                   bond to Cixi’s dayazhai style (Figure 80).  In this case, the bird sits on a branch filled


                   with bright, green-toned leaves and peach blossoms.  Blooming beneath the branch are

                   small roses.  The branch, flowers, and bird create a strong diagonal across the plate,



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