Page 215 - A Re-examination of Late Qing Dynasty Porcelain, 1850-1920 THESIS

depiction, the incorporation of butterflies on dayazhai wares appear subtler. The flowers

depicted on this porcelain include both peonies and chrysanthemums. Both of these

flowers are associated with the empress dowager, who used both symbols on her

dayazhai wares. The peony is considered the king of flowers and the chrysanthemum

represents autumn. Of all the flowers utilized in late Qing porcelain, this study has found

the peony to be the most prevalent floral motif. The emergence of the peony occurred

long before the time of the empress dowager. The reliance on this imagery within her

porcelain and painting prompted the peony to become a widely employed image. Cixi

relied heavily on the symbolism instilled within these motifs, which became more

popular as a result of her patronage influencing the porcelain produced during the late

Qing dynasty.

Looking at these three plates collectively, it becomes clear that they are all

thematic recurrences of floral imagery. The color palette of the enamel application of all

three is in the famille rose technique. The way in which the enamel was applied was also

accomplished with a level of painterly skill rather than a quickly applied British transfer

print. The styles exemplified by these works strongly connect them to earlier Qing

porcelain styles. All three wares were collected by the same individual, which could

serve as an indicator that theses wares were all procured around the same time, giving the

set a strong acquisition history. There is relatively little documentation concerning the

collection of this collector, W.H. Cope. Records do reveal that Cope amassed a

collection of Asian objects, many of which were Chinese porcelain. According to an

article written in July of 1903, Cope owned enough objects to establish his own exhibit

within the Cross Gallery at the Victoria and Albert Museum. The Cope collection was

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