Page 93 - A Re-examination of Late Qing Dynasty Porcelain, 1850-1920 THESIS

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depicts children playing, known as the hundred boys (baizi tu 百子圖) pattern. The

theme was commonly associated with weddings as it conveyed the idea of many sons.

The children are created using vivid colors that stand out against the white tone of the

porcelain. The groupings of children featured on the porcelain participate in a variety of

celebratory activities in a lush outdoor environment, conveying a sense of movement

around the vessel. Boys hold brushes, peaches, and flowers that symbolize ideas such as

longevity, immortality, and many wishes. The immense detail is further elevated to a

luxurious imperial level with gold along the edge of the plate and surrounding the central

motif. Similar to the yellow butterfly-detailed bowl, this example of Tongzhi porcelain is

highly ornate, with details added to each child’s clothing. The use of many children

playing together is representative of the Chinese saying yingxi tu (嬰戲圖), meaning

“boys at play.” This imagery is often achieved by depicting numerous boys of varying

ages playing in a garden setting. The concept of boys at play dates back to the Ming

dynasty but was frequently utilized throughout the Qing period. The use of this imagery

conveys a wish for many sons and the desire for those sons to become noble and

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honorable. The selection of this imagery for a piece of wedding porcelain was a
traditional choice for the empress dowager, indicating her desire for the rule to move

forward successfully with new heirs to continue the dynasty.

96 The hundred sons theme dates to the Zhou dynasty (1027-221 BCE). According to legend,
King Wen of Zhou (周文王) had 99 sons and adopted one additional son to have a total of 100
sons. For further discussion, see Ann Elizabeth Barrott Wicks, ed. Children in Chinese Art
(Honolulu: University of Hawaii), 2002.
97 Bartholomew, Hidden Meanings in Chinese Art, 63.

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