Page 84 - A Re-examination of Late Qing Dynasty Porcelain, 1850-1920 THESIS

represents China’s overcoming of the Opium Wars and possibly achieving a level of

enlightenment. Among the many leaves that provide a lush background to this winter

scene, a flying white bird moves through the space. This species is a magpie known as

xique 喜鵲. Magpies have a long history of being utilized within the field of painting and

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are thought of as the birds of joy and happiness. Ancient beliefs indicate that magpies

foreshadow the arrival of something. In the context of the winter dayazhai flowers, it is

possible that the magpies herald the arrival of the West in China.

These motifs could all draw some comparisons to the painted porcelain motifs of

the earlier Qing dynasty. The continued use of traditional iconography on each vessel

connects the earlier Qing styles to those used during Cixi’s reign. However, despite

having correlations to an earlier era, the dayazhai wares are completely modernized. The

imagery takes on a new role because it was applicable to the events occurring at the time,

transforming the motifs into contemporary interpretations of their former selves. The

incorporation of new techniques like the grisaille, vivid enamel colors, and even the

painterly approach to the enamel application elevate the vessels beyond the standards of

the earlier Qing dynasty. While the colors found on the dayazhai wares were available

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during the 18 century, the pigments of the 19 century are brighter and more vivid.
The manner in which these wares are composed appears entirely unique within the scope

of Qing-era porcelain, establishing them as a basis for characterization of late Qing

porcelain.

86 Pierson, Designs as Signs: Decoration and Chinese Ceramics, 50.
87 Geng Baochang, Ming Qing ciqi jianding, 316.

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