Page 51 - A Re-examination of Late Qing Dynasty Porcelain, 1850-1920 THESIS

expanded, with wares taking on unique shapes that were often influenced by styles and

commissioned export wares for the West. At this time, exterior decoration on porcelain

underwent the most dramatic evolution, with vessels maintaining all of the previously

established styles of former dynasties, such as molding and carved handles, while

simultaneously expanding into new techniques. The main contribution relevant to this

study is the development of clear painting techniques on porcelain vessels by the potters

at the kilns. For the first time, Qing potters successfully deviated from Ming traditions

and delved into a more painterly aesthetic. Potters studied the styles of paintings and

carefully emulated them within the kilns, creating a clear connection between the

production of paintings and porcelain. These established techniques were pushed further

by Cixi’s patronage. She viewed former imperial patrons as individuals to emulate, with

most of her produced porcelain looking to stylistic elements that were cultivated long

before her reign.

While imperial patronage can be traced back to China’s early rulers, the patronage

of Qing ruler Qianlong is undoubtedly the most thoroughly studied. His patronage is also

the closest in chronology to that of the empress dowager, making Qianlong’s patronage

the most logical influence on Cixi’s. Qianlong was born in 1711. He was the grandson

of Kangxi, which strengthened his connection to the line of patronage established by the

former ruler. Following the death of the Yongzheng Emperor in 1735, Qianlong came

into power. He was especially interested in both art and scholastic pursuits, which he

continued cultivating after taking on the role of emperor. Qianlong began to amass a

large quantity of art, ultimately creating one of the largest art collections in the history of

China. Qianlong’s desire to collect sparked massive growth within the decorative arts.

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