Page 83 - A Re-examination of Late Qing Dynasty Porcelain, 1850-1920 THESIS

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rong, is a homophone for riches and fame. As in the other motifs, a bird is flying
through the scene, and the grisaille technique is once again utilized, recreating the feel of

a traditional Chinese ink painting. This technique was often highlighted with subtle

inclusions of color similar to the application of color in traditional Chinese paintings.

The autumn design is one of the rarest documented pieces of all the dayazhai designs,

with only two known works with the original motif in existence. Of all the motifs, this

autumn design was the only one that would go on to become an official imperial pattern

during the reign of Guangxu. The existence of these later editions of the pattern has

allowed scholars to study the uncommon porcelain design. Although these pieces were

ultimately produced and created with the imperial Guangxu mark rather than the

dayazhai mark, they still clearly represent the designs Cixi championed.

The final season, winter, is depicted with a deep purple ground. Standing against

the purple is an array of polychrome purple, pink, white, and yellow poppies (yingsu 罌

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粟), along with hydrangeas in various stages of bloom (Figure 19). These blossoms

were associated with the winter season, because they bloomed at that time. Additionally,

poppies could represent beauty and success. Given the era in which these winter

dayazhai were produced, it is highly likely that the poppy was used as a means of taking

control of China’s opiate-related issues triggered by the Opium Wars. The incorporation

of hydrangeas within the design strengthens the poppies’ message. Hydrangeas are a

symbol of love, gratitude, and overall enlightenment. In this instance, the inclusion

84 Pierson, Designs as Signs: Decoration and Chinese Ceramics, 33.
85 The “International Exhibition of Chinese Art” held at the British Museum in London from
1935-1936 featured committee selected works of art from China. After the exhibition these
works would travel to National Palace Museum, Taipei. The selection of a porcelain with a
dayazhai mark for the exhibition suggests that it was considered fine art at the time.

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