Page 89 - A Re-examination of Late Qing Dynasty Porcelain, 1850-1920 THESIS
P. 89

Part of the survival of dayazhai porcelain is attributed to the interactions Cixi had

                   within her political role and her obligations as a ruler to maintain diplomatic


                   relationships.  In this role, Cixi utilized imperial porcelain and paintings as gifts for

                   foreign officials.  Other porcelain wares traveled to the Western world as a direct result of


                   the looting of the imperial palaces when Beijing was occupied in 1900.  Another factor to

                   consider regarding the spread of the porcelain Cixi commissioned is as a direct result of


                   imperial transitions.  As dynastic power began to weaken and ultimately fall, art objects

                   were taken and sold.  This is especially prevalent during the late Qing dynasty and the


                   early republic, resulting in some of these wares traveling far from their official

                   commission by Cixi.  As the wares slowly dispersed, later versions of them were also


                   produced, although they were arguably not of the same quality as the original works Cixi

                   commissioned.  The movement of the wares Cixi commissioned allowed the motifs she

                   designed to be appropriated in later porcelain produced in China, establishing the works


                   Cixi ordered as the foundation of many more modern porcelain styles.

                          Despite this evidence, scholars still believe that the dayazhai wares commissioned


                   from Jingdezhen are meant to copy earlier Qianlong bowls.  However, this study does not

                   see enough evidence to support the idea of the dayazhai wares as reproductions of


                   Qianlong vessels.  It seems abundantly clear that the dayazhai wares were uniquely based

                   on Cixi’s aesthetic in painted design.  Although thematic content or form can be revived,


                   the actual style of each porcelain ware is solely associated with Cixi’s influence and

                   patronage.  When analyzing all elements of Cixi’s porcelain quality, these examples are


                   unique to this era and Cixi’s reign.  Agreeing on this front, Longsdorf prompts porcelain

                   enthusiasts to only compare the dayazhai porcelain to later produced porcelain works



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