Studies and publications of artworks from museums and private collections, published in recent decades, indicate that porcelain production in China received a new impetus for development in the second half of the 19th century. The article examines artworks with the so-called “pavilion” mark “daya zhai” from a private collection. The author substantiates stylistic transformations and changes in the marking of objects, highlights the problems of attribution research and establishing the authenticity of works of Chinese porcelain of the late imperial period. Late Chinese porcelain with “pavilion” stamps has recently attracted the interest of researchers. However, now it is already possible to identify a few studies, with varying degrees of depth and details, considering this problem. Among them, it is necessary to note the artwork of G. Avitabile, related to the description of the collection of Chinese porcelain by Siegfried Weishaupt. General information is contained in the works of experts on Chinese porcelain (G. Davison, S. Marchant), who study the marks of Chinese porcelain in a wide time range, and others. The most relevant within the framework of the article are the studies of R. Longsdorf, in which the porcelain of the period of Cixi's regency is examined. In Russian art history, it is especially possible to highlight the dissertation and a series of articles on Chinese porcelain of the second half of the 19th - early 20th centuries by I.G. Yakovleva. In them, the author gives the methodology of attribution of works of the period under consideration, based on consideration of the mark, decor, as well as technological features of glaze and enamel painting. An important role in the process of studying the works was played by a unique album published in 2007 by the Gugong Museum (Beijing) with official samples of painting used by the court porcelain kilns of the late Qing period. A specific feature of the objects considered in this article is the presence on the body of the objects of the pavilion mark “daya zhai” of three hieroglyphs placed horizontally (Chin. 大雅齋). As the researchers point out, this mark reproduces the name of the Empress Cixi's office or her studio name. The presence of this brand allows specialists to attribute items with it to the range of products to the second half of the 19th - early 20th centuries. Artworks from a private collection with the considered “pavilion” mark are distinguished by a special decorative program, which testifies to the careful development of it by the artists. Thanks to the relatively recent publication by Chinese experts of a catalog of sketches for painting created for court porcelain stoves, we are able not only to describe the main artistic transformations of the porcelain decor of the Daya Zhai group, but also by comparing with these samples to more confidently attribute works or raise questions in attribution. The author declares no conflicts of interests.