Page 81 - Sothebys HK Dragon Emperor April 2024
P. 81

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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