Page 53 - A Re-examination of Late Qing Dynasty Porcelain, 1850-1920 THESIS

piece that both revived tradition and directly sparked new innovations. This connection

to the past is expected in wares dating to Qianlong’s era. In almost all forms of Chinese

art, artists pay homage to former styles, aesthetics, or masters in order to better

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themselves. As the Qing dynasty progressed, patronage became even more

multifaceted. Most significantly, the rise of a wealthy merchant class, especially in

regions like Yangzhou and Shanghai, meant that more individuals were able to finance

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artistic endeavors. This increase in patronage of both an imperial caliber and within the
merchant class created an influx of art production during this era.

Given Qianlong and Cixi’s close chronological proximity, it seems plausible that

Cixi emulated Qianlong’s collecting in an effort to mimic his level of patronage and

establish herself as a similarly successful ruler. Through these patronage activities, Cixi

was establishing herself not only as worthy of the throne, but also as the equal to any

intellectual man. In Chinese art forms, artists traditionally look toward the masters of the

past in order to emulate them and hopefully progress beyond them. Using this same

mindset, it appears that Cixi looked toward the patronage that was successfully conducted

by the Qianlong Emperor in a desire to mimic these acts to her benefit. In doing so, Cixi

not only connected herself to the productive reign associated with Qianlong, but strove to

benefit her current reign. By harnessing the power of patronage, she was able to promote

herself and exemplify the expansiveness of her imperial sovereignty. Cixi became

directly involved in the patronage of textiles, porcelain, painting, calligraphy, theater,

architecture, and photography. Acting at this level of patronage emphasized Cixi’s

32 Qianlong showed his appreciation for early master porcelain artists by collecting early Song
wares and referencing aspects of these styles within his newly commissioned vessels.
33 Ho, “Introduction,” in Artists and Patrons: Some Social and Economic Aspects of Chinese
Painting, 5.
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