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Nine-Character Couplet in Running Script
Details
EMPEROR QIANLONG (1711-1799, R.1736-1796)
Nine-Character Couplet in Running Script
A pair of hanging scrolls, ink on coloured patterned paper
Each scroll measures 341.5 x 45 cm. (134 ½ x 17 ¾ in.)(2)
With three seals of the artist
Nine-Character Couplet in Running Script
A pair of hanging scrolls, ink on coloured patterned paper
Each scroll measures 341.5 x 45 cm. (134 ½ x 17 ¾ in.)(2)
With three seals of the artist
Provenance
Christie’s Hong Kong, Dragon & Phoenix - 800 Years of Patronage, 1 November 2004, Lot 917.
Further details
The painting and calligraphy of the Qing imperial family were not mere leisurely pastimes, but manifestations of power and culture, closely revolving around two central themes: “inheritance” and “symbolism.”
In terms of “inheritance,” the Manchu-led imperial family consistently studied the Han culture to demonstrate their succession to its orthodox legacy, which was also an assertion of cultural power. Emperor Qianlong’s calligraphy, for instance, modelled after that of Zhao Mengfu and Dong Qichang, is characterized by its rounded and elegant style. Their reign promoted the Guan Ge Ti (Court Style) as the model, showcasing the imperial family’s reverence and control of traditional literati values.
The function of “symbolism” is most evident in Empress Dowager Cixi. Her large-character calligraphic works and lavish paintings of peonies and peaches of longevity were not pure art but gifts imbued with political and auspicious symbolism. These works, with their rich colours and propitious themes, aimed to shape her image as a benevolent maternal figure governing the realm and served as rewards to win over officials.
Qing imperial calligraphy and painting were both proof of their inheritance of traditional Han culture and tools embedded with symbolic meanings of power, perfectly illustrating how art served politics and culture.
In terms of “inheritance,” the Manchu-led imperial family consistently studied the Han culture to demonstrate their succession to its orthodox legacy, which was also an assertion of cultural power. Emperor Qianlong’s calligraphy, for instance, modelled after that of Zhao Mengfu and Dong Qichang, is characterized by its rounded and elegant style. Their reign promoted the Guan Ge Ti (Court Style) as the model, showcasing the imperial family’s reverence and control of traditional literati values.
The function of “symbolism” is most evident in Empress Dowager Cixi. Her large-character calligraphic works and lavish paintings of peonies and peaches of longevity were not pure art but gifts imbued with political and auspicious symbolism. These works, with their rich colours and propitious themes, aimed to shape her image as a benevolent maternal figure governing the realm and served as rewards to win over officials.
Qing imperial calligraphy and painting were both proof of their inheritance of traditional Han culture and tools embedded with symbolic meanings of power, perfectly illustrating how art served politics and culture.
Brought to you by
Carmen Shek Cerne (石嘉雯)
Vice President, Head of Department, Chinese Paintings