Page 74 - A Re-examination of Late Qing Dynasty Porcelain, 1850-1920 THESIS

distinction between these types of wares requires this study to focus on both regular and

special occasion porcelain in order to best establish and examine the patronage of Cixi.

Along with the two categories of porcelain from the imperial kilns, it is evident that

custom orders were also readily placed. Each member of the imperial family had the

ability to commission various amounts of porcelain. As an individual’s rank rose within

the household, the allotment of porcelain commissions increased. Vessels of certain

forms and colors were restricted based on rank. For example, the color yellow was

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reserved for only the highest ranking imperial family members. These rules were

outlined in 1899 in the Qinding daqing huidian or The Illustrated Regulation for

Ceremonies in the Qing Dynasty. While Cixi would have had very few restrictions on

her porcelain, an understanding of these regulations reveals how carefully she flaunted

her status within the court, harnessing the power of colors to emphasize her position.

The primary way to identify the porcelain Cixi commissioned is by identifying the

various nian hao 年號 or reign marks she utilized. Since Cixi ruled for several emperors,

her patronage is associated with several different reign marks, including those of

Xianfeng, Tongzhi, and Guangxu. Cixi must be given credit for actively pursuing

porcelain patronage, because wares were produced on behalf of the emperors at her

request. Many pieces of porcelain attributed to the reigns of these emperors were created

while they were child emperors, so it must be concluded that Cixi took responsibility for

the production at the imperial kilns. Other scholars share this viewpoint: “Whether these

wares were produced in the Tongzhi or early Guangxu period is somewhat academic,

however, since neither of the emperors had anything to do with government policy at this

66 Kwan, 27. For more information see Appendix C.

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