Page 80 - Sothebys HK Dragon Emperor April 2024
P. 80

QIANLONG’S IMPERIAL PORTRAIT ALBUM*

             NIE CHONGZHENG

             This album is the work of the Emperor and his artists.   The Qianlong Emperor undoubtedly favoured this small and
             Contrary to the norm, Qianlong’s postscript of his   exquisite album which was made for his enjoyment and was
             appreciation and the paintings were completed around the   possibly placed on his desk. The seals prove that he enjoyed
             same time. Unfolding in the form of a tent, the front cover   this album even in his later years.
             is made of wood incised with the four characters Jian gu xi   With the exception of Ding Guanpeng’s painted figures, all
             zhen [Ancient treasures reflecting the past] and Qianlong’s   other paintings by the three officials portray landscape and
             imperial seal impressions on the following pages. This album   flowers. Ding’s subject matter is from the ‘Books and Fans
             is the work of European and Chinese painters. The third page   of Wang Xizhi’. Each painter has displayed his talent to his
             contains the Emperor’s portrait and the two characters Lang   utmost ability and the paintings are extremely refined and
             zhao (‘Perfect brilliance’) written in the Emperor’s hand. The   exquisite.
             portrait painting is extremely fine, giving an acute sense of
             the Emperor’s feelings. It is painted in the European style   There are 32 additional seals impressed above the court
             and is possibly the work of Italian missionary artist Lang   paintings, the transcription of each is written beside the
             Shining (Giuseppe Castiglione, 1688-1766) who served in the   seals. All these seals have been collected by the Qianlong
             Palace, while all other paintings in the album are the work of   Emperor. However the seals are likely to be fake. From
             Chinese painters. Lang Shining often painted portraits for   this we can see the gaps in the Emperor’s knowledge and
             the Emperor; similar ones can be found in the Yuzhi shi wen ji   connoisseurship of archaic seals. The court painters and
             [Anthology of imperial poems and text].    officials were probably aware of this but in order to flatter the
                                                        Emperor they joined him in his praise.
             The following four pages contain seals above small refined
             paintings. The artists of these paintings are court painters   As the album is not dated we can only guess the date of
             and official artists of varying social status and positions:   its making through information obtained from the artists
             Dong Bangda (1699-1769), Zou Yigui (1686-1772), Qian   involved. It is known that Dong Bangda died in the 34th year
             Weicheng (1720-1772), who were all important officials   of Qianlong’s reign (1769), and Zou Yigui and Qian Weicheng
             during Qianlong’s reign and Ding Guanpeng (fl. 1738-1768),    both died in the 37th year of Qianlong’s reign (1772). The
             a court painter who worked in the Ruyiguan (court studio) in   death of Ding Guanpeng is not documented, but there are no
             the Neiwufu (imperial household department).  records of his activity after 1770. Lang Shining died in 1766
                                                        and his portrait of the Emperor is possibly the last painting to
             The last page contains the Emperor’s postscript and scripts   be added in the album. Hence this album was probably made
             written by Jiang Pu, Wang Youdun, Qiu Yuexiu, Jin Deying,   in the first half of Qianlong’s reign which is also evident from
             Dong Bangda, Wang Jihua, Qian Weicheng and others. The   the Emperor’s youthful facial features.
             last page contains the seal impression ‘Taishang Huangdi zhi
             bao’ (Treasure of the Emperor Emeritus).
             The signatures are extraordinary and rarely seen on palace
             paintings of the Qing period. All the painters’ signatures
             contain only the given name, without the surname, such as
             “Bangda”, “Yigui”, “Weicheng”, and “Guanpeng”. We may
             even say that this is the only example found so far. The
             postscripts on the last page were possibly written during a
             gathering of the Emperor and his artists. It appears that the
             rules of rites and the boundary between the Emperor and his
             subjects were not so strictly observed.




















             * originally published in Imperial Peking. The Last Days, Sotheby’s, Hong Kong, 2007, pp. 48-49.
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