.jpg?w=1)
.jpg?w=1)
.jpg?w=1)
.jpg?w=1)
Property of a Japanese Private Collector (Lot 690)
EMPRESS DOWAGER CIXI (1835-1908)
Calligraphy
Details
EMPRESS DOWAGER CIXI (1835-1908)
Calligraphy
Scroll, mounted and framed, ink on silk
54 x 132 cm. (21 ¼ x 52 in.)
With three seals of the artist
Inscriptions on the cover of the wooden box inserted in the back of the frame
NOTE:
According to the present owner, this calligraphy was one of ten works acquired by his grandfather Yamaguchi Seiji (1866-1945) from Li Hongzhang (1823-1901). He was introduced to Li by Shibusawa Eiichi (1840-1931), an important industrialist and banker during the Meiji period.
Calligraphy
Scroll, mounted and framed, ink on silk
54 x 132 cm. (21 ¼ x 52 in.)
With three seals of the artist
Inscriptions on the cover of the wooden box inserted in the back of the frame
NOTE:
According to the present owner, this calligraphy was one of ten works acquired by his grandfather Yamaguchi Seiji (1866-1945) from Li Hongzhang (1823-1901). He was introduced to Li by Shibusawa Eiichi (1840-1931), an important industrialist and banker during the Meiji period.
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