Page 57 - A Re-examination of Late Qing Dynasty Porcelain, 1850-1920 THESIS

selected imagery alone that held an auspicious connotation rather than harnessing actual

text to reflect the idea. The light brush application creates subtle washes of color and

indicates the artist’s immense control. The light hand and delicate touch apparent in each

brushstroke indicate a refined touch that is expertly trained. The inclusion of her seal

allows Cixi to take complete ownership of this painting. Blending the floral imagery

signifying prosperity with her title conveys Cixi’s dominance and success at the time the

work was created. The juxtaposition of a flower and her power are frequently found

within Cixi’s paintings, as well as her porcelain. The empress dowager’s preference for

flowers, embedded symbolism, and delicate styles is overarching within her art and work,

ultimately emphasizing her continued power over the imperial court.

Throughout her life in the Forbidden City, Cixi strove to better her own painting

and calligraphy techniques. As during the reigns of previous rulers, the Forbidden City

had access to some of the most skilled painters of Cixi’s era. Firsthand accounts written

at the time describe the massive operation surrounding the patronage of painting within

the Forbidden City:

Her Majesty has a corps of painters always there. These painters decorate the
thousands of lanterns used in the Palace ceremonies and processions. They paint the
scenery for the spectacular plays at the Theater, and the flowers used for decorations
of the screen-like walls I have already alluded to. Some are very clever flower
painters, and one even paints portraits, but they have never seen the Empress
Dowager except from afar! Though Mandarins of the Third rank, the painters were
obliged to withdraw from court where they worked when Her Majesty and suite
passed by. It was amusing to see these dignified, handsomely gowned officials being
hurried out of the court on Her Majesty’s approach by the eunuchs who precede her.
Their paintings were submitted to her by one of the eunuchs, by whom she sent her
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instructions to them.

38 Katherine A. Carl, With the Empress Dowager of China (New York: KPI Limited, 1986), 173.

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