Page 62 - A Re-examination of Late Qing Dynasty Porcelain, 1850-1920 THESIS

character shou. The orchid connects to Cixi’s original namesake, Lan Guiren, which

means lady orchid. The character shou translates to longevity. The variety of symbols

selected for the portrait draw distinct similarities to the paintings and porcelain patronized

by Cixi, which will be assessed throughout this research. The portraits numerous hidden

symbols convey a distinct message about Cixi’s power over China. While Carl acted as

the painter of the portrait it is clear that Cixi orchestrated control over what was depicted.

Photography dating to this era captures Cixi wearing attire with similar motifs to those

exhibited within the Carl portrait. This establishes that Cixi surrounded herself with

symbols in photographs and other portraits, not just for the purposes of the Carl portrait.

The symbolism included in Carl’s portrait will be repetitively found throughout the art

patronized by Cixi.

Ultimately, the portrait of the Empress was given to President Theodore

Roosevelt (1858–1919) as a gift, eventually ending its journey in the Smithsonian

Institution collection. This East-West exchange marks the first time a portrait of a

Chinese ruler was ever presented to a Western leader as a gift. Cixi used the portrait as a

statement, showing the Western world her control of China. Just as her earlier patronage

of porcelain or painting had been disseminated within China, Carl’s portrait was an

opportunity for Cixi to establish her authority on a global level. The portrait showed Cixi

dressed in immense finery while seated on a raised throne. Cixi appears stoic and is

presented in an almost divine manner. The similarities between this portrait and the

earlier portrait of Qianlong are striking. Both portraits establish the subject as an

idealized figure that represents imperial China while employing Western aesthetics to

convey these ideas. During an era when Cixi was frequently criticized for being anti-

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