Page 86 - A Re-examination of Late Qing Dynasty Porcelain, 1850-1920 THESIS

originals. This is perhaps yet another way that the high caliber of Cixi’s patronage is

evident, since her specifically commissioned works are of better artistic quality than any

later attempt.

Along with these distinct seasonal motifs, wares with a dayazhai mark were also

produced outside of these commissioned sets. They tend to maintain the theme of floral

and bird motifs, although the compositions are not typically associated with a specific

season. These motifs were utilized on all different types of vessels and were clearly not

particular to a distinct porcelain form. These porcelain examples are often considered to

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be of inferior quality. However, given the examples examined in this course of this
study, it appears that the wares outside of the commissioned porcelain sets still maintain

an imperial standard of quality. One ware Cixi ordered was part of the Palace Museum’s

2013 exhibition “Treasures of the Palace Museum: Empress Dowager Cixi’s Porcelain,”

which was intended to showcase wares that display the quality of the porcelain that was

ordered by the empress dowager. One example is a pristine white Covered bowl with an

intricate floral design created in a grisaille palette with gilding (Figure 21). The design

centers on flowering bitter melon, a type of gourd (gua 瓜), that often represents fertility

which is symbolized by numerous seeds. The interwoven vines and tendrils circling the

body of the covered bowl also connote a meaning of continuity. Along with the bitter

melon the covered bowl includes imagery of bamboo. Bamboo (zhu 竹) represents

integrity due to its ability to bend easily without breaking. This bowl clearly illustrates a

painterly approach, with gradient color shading the curvature of the vines, leaves and

bitter melon. The striking contrast achieved by using the grisaille enamel connects to

89 Longsdorf, “Dayazhai Ware: Porcelains of the Empress Dowager,” 45.
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