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Portraits of the Qianlong Emperor and His Twelve Consorts, 1736 - c. 1770s. Creator
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Portraits of the Qianlong Emperor and His Twelve Consorts, 1736 - c. 1770s. Creator
Portraits of the Qianlong Emperor and His Twelve Consorts, 1736 - c. 1770s. Formal portraiture contributed to the affirmation of status and construction of role and identity. This scroll served as both familial documentation and a " mind picture" of the Qianlong emperor, suggesting that his constructed image of emperorship was inseparable from concepts of self and family. It was stored in a carved red lacquer box bearing the original painting title Mind Picture of a Well-Governed and Tranquil Reign. Qianlongs portrait is inscribed with a date of 1736, the year he ascended the throne. The other portraits document the appearances of the empress and eleven consorts around the time when they received their respective imperial titles, which occurred at different stages of the emperors life. The first three portraits were done by the Jesuit missionary-artist Giuseppe Castiglione whereas the others were by the Chinese court painters. Qianlong had unrolled and viewed the scroll in his old age, as indicated by the impression of the seals he used after abdicating in 1796
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Media ID 19638989
© Heritage Art/Heritage Images
1644 1911 Giuseppe Castiglione Handscroll Ink And Colour On Silk Qing Dynasty 1688 1766
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EDITORS COMMENTS
This print showcases the "Portraits of the Qianlong Emperor and His Twelve Consorts" dating back to 1736 - c. 1770s. These formal portraits played a significant role in solidifying the emperor's status and constructing his identity within society. The scroll itself served as both a family record and a visual representation, providing a glimpse into the mind of the Qianlong emperor. Stored in an intricately carved red lacquer box titled "Mind Picture of a Well-Governed and Tranquil Reign" this artwork symbolizes not only power but also familial ties. The inscription on Qianlong's portrait indicates that it was created in 1736 when he ascended to the throne, while the other portraits depict his empress and eleven consorts during different stages of their lives as they received their imperial titles. Interestingly, this collection features three portraits by Giuseppe Castiglione, a Jesuit missionary-artist, highlighting cultural exchange between China and Europe at that time. The remaining paintings were executed by Chinese court painters, showcasing their mastery in capturing intricate details. The impression of seals left by Qianlong himself after abdicating in 1796 suggests that he revisited this scroll during his old age. This act demonstrates his deep connection with these images and emphasizes how inseparable his constructed image of emperorship was from notions of selfhood and family. Preserved through generations, this print allows us to appreciate not only its artistic value but also its historical significance as an intimate portrayal of one of China's most influential rulers.
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