Page 99 - A Re-examination of Late Qing Dynasty Porcelain, 1850-1920 THESIS

be the most prevalent are the vase, bowl, and cup. These forms are generic and are often

altered in some manner. Many include sculptural handles, finials, and covers that when

evaluated reveal vaguely European styles. Patterns appear to be repetitive and reused,

often on a variety of forms, creating codified themes. The popular motifs that Cixi

preferred are bird-and-flower designs, figural representations, and animal depictions.

Almost all of Cixi’s porcelain commissions have auspicious meanings that connected her

patronage to her control of China. The porcelain is predominately highly ornate with

glazes in vibrant colors, often utilizing a famille rose coloring. The choice to utilize

enamels and painterly techniques in this manner once again connects Cixi to Western

influence and the overall modernization of the porcelain industry. Porcelain imagery

leaned heavily on her painting styles, creating a fluid movement between painting and

porcelain during the late Qing dynasty. These carefully cultivated styles helped the field

of porcelain to progress rather than only look toward past styles. While some examples

may fall outside of this scope, this categorization applies to the majority of the porcelain

commissioned by Cixi alone.

1.8 Conclusion

Despite being viewed in a variety of lights, Cixi undoubtedly changed the

th
direction of Chinese porcelain during the 20 century. The duality of Cixi’s life resulted

in her maintaining an air of historic mystery. Regardless of the side of history on which

one places Cixi, it is clear that she was the most powerful woman in China during the

th
later half of the 19 century and therefore became the largest single influence within the
evolution of late dynastic porcelain. Overall, Empress Dowager Cixi thrived as a patron

60