Page 96 - A Re-examination of Late Qing Dynasty Porcelain, 1850-1920 THESIS

Cixi provided less artistic contribution to the later Guangxu porcelain set then its earlier

counterpart. The Tongzhi and Guangxu wedding porcelain demonstrates a delicate

painterly style connecting strongly to the brushwork exemplified in Cixi’s personal

paintings. The use of clear lines, bright colors, and clear symbolism is visible within the

artwork surrounding Cixi. The association to tradition is key within the wedding

porcelain; however, it is apparent that despite a strong connection to ancient motifs, Cixi

applied them to her current status, making them representative of her hold over the court.

Despite the rule of a new emperor and empress, Cixi clearly had control of both

patronage and power.

1.7 Birthday Porcelain

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Historically, Qing rulers held major birthday celebrations including Kangxi’s 60
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birthday in 1713, Qianlong’s 80 birthday in 1790, and Empress Chongqing’s 60 and
80 birthdays. 100 Cixi was no exception to this standard, planning large-scale birthdays
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for both her 50 and 60 birthdays in 1884, and 1894, respectively. Unlike earlier rulers’
celebrations that occurred during times of widespread peace and prosperity, Cixi’s

birthdays aligned with difficult times for China. Ultimately, the money spent on these

lavish celebrations was needed elsewhere. Despite these drawbacks, Cixi pushed forward

with the celebrations, perhaps in a desire to emulate the success of former rulers and

connect China to an earlier time of peace. Few other female patrons existed in the history

of imperial China but several female figures were celebrated while residing within the

Forbidden City. Cixi would connect to these previous festivities, especially the birthday

100 Hong-qi, Empress Dowager Cixi: Her Art of Living, 103. Empress Dowager Chongqing was
the mother of Qianlong and was a major supporter of the Emperor throughout her lifetime.
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