Page 73 - A Re-examination of Late Qing Dynasty Porcelain, 1850-1920 THESIS

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

64
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
65
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.

34