Page 73 - A Re-examination of Late Qing Dynasty Porcelain, 1850-1920 THESIS
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is found across the empress dowager’s artistic pursuits, with similarities connecting

                   painting, porcelain, and even known textiles.  Surviving textiles from Cixi’s era include


                   floral representations, such as those on a Woman’s informal coat from the Royal Ontario

                   Museum (Figure 12).  The purple and blue silk coat is heavily embroidered with a motif


                   of butterflies and chrysanthemums.  Large groups of butterflies (hudie 蝴蝶) represent


                   numerous blessings, while the chrysanthemum symbolizes longevity.  Yet another

                   example from the University of Alberta Museums has a similar design in blue and purple


                   silk (Figure 13).  In this instance, the motif embroidered represents peonies and flying

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                   phoenix.   The peony, considered the king of flowers, complements the inclusion of the

                   phoenix (fenghuang 鳳凰), which symbolizes the empress.  The inclusion of these

                   auspicious symbols on garments dating to Cixi’s period emphasizes that her personal


                   motif preferences influenced the designs of the late Qing dynasty.  Looking specifically

                   at the floral embroidery, the chrysanthemum and peony are also images found in Cixi’s


                   painting and porcelain imagery, thus connecting these art forms via shared iconography.

                          Imperial commissions during the Qing can be divided into two categories.  The


                   kilns produced regular wares, which were items that had daily utilitarian functions.  The

                   empress dowager used these wares in her daily life within her own palace.  Within this


                   analysis, Cixi’s commission of dayazhai wares is investigated further. The other category

                   of porcelain production was special wares.  These objects were made to commemorate


                   special occasions.   Cixi also commissioned these specialty wares.  For the purpose of
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                   this study, the porcelain ordered to celebrate weddings and birthdays is analyzed.  The


                   64  For further discussion of textiles see John E. Vollmer and Sarah Fee, “By Design: Imperial
                   Chinese Dress,” Orientations 45, no. 4 (May 2014): 108-116.
                   65  Kwan, Imperial Porcelain of the Late Qing Dynasty, 22.

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