Page 223 - A Re-examination of Late Qing Dynasty Porcelain, 1850-1920 THESIS

this study a firm understanding of late Qing through early Republic porcelain is

established. British collections at the British Museum, the Victoria and Albert Museum,

and Ashmolean Museum of Art and Archaeology contributed 314 pieces of porcelain that

date within the scope of this examination. Combining these vessels with those evaluated

from the Phoenix private collection brings the total of porcelain dating to this period up

to 363 objects. This broad expanse of porcelain established repeated forms, motifs, and

overall styles for the production of this era.

Of the 363 porcelain objects reviewed the majority of the vessels dated to the era

of Tongzhi and Guangxu. 284 This dating suggests that the most prevalent patron during

the late Qing was the Empress Dowager Cixi, serving as the primary imperial patron

during both emperor’s reigns. A significantly smaller amount of porcelain dated to the

Hongxian period, emphasizing a decrease in porcelain production. Although production

after the patronage of Cixi decreased, several factors appeared consistent throughout the

end of the Qing and into the establishment of the early Republic. The attention given to

porcelain by Empress Dowager Cixi and then by Yuan Shikai allowed the porcelain

industry to remain relevant and highly influential. These late patrons were able to impart

their own personal “court” tastes to traditional Qing porcelain, leading to the creation of

wares that were innovative and modern. The porcelains Cixi patronized were all

characterized by several key stylistic achievements. The vessels revealed a favoritism for

delicate brushwork that connected strongly to the empress dowager’s paintings. Cixi’s

porcelain also focused primarily on strong iconography that conveyed her power over

China. The symbols chosen were predominately static bird-and-flower scenes, which

284 For further details, see Appendix E.

184