Art and Representation

Where it surfaces

• Introductory

  The portrait project aims to present a true likeness of the Empress Dowager to counter prevailing misconceptions, highlighting the power of artistic representation.

• I: My Presentation and First Day at the Chinese Court

  The chapter focuses on the beginning of the first portrait of the Empress Dowager, emphasizing the challenges and significance of capturing her likeness.

• II: Personal Appearance of Her Majesty—A Chinese Repast—Boating

  The chapter focuses on the portrait sitting, the process of painting the face, and the Empress Dowager's fascination with the representation on canvas.

• IV: Her Majesty’s Throne-Room—Some Personal Characteristics

  The chapter focuses on the creation of the Empress Dowager's portrait. The Empress Dowager makes decisions about her appearance, such as removing nail-protectors and suggesting a lotus flower, showing her active role in shaping her own representation.

• VI: Continuation of the Portrait—Her Majesty’s Dogs

  The portrait sittings highlight the tension between artistic creation and the Empress's view of it as an amusement, as well as the cultural taboo against portraiture.

• Peking—The Sea Palace

  The portrait of the Empress Dowager is treated as a sacred object, reflecting the Chinese view of imperial likenesses as holy.

• XII: Return to the Summer Palace

  The chapter focuses on the portrait painting process, the creation of the easel and yellow boxes, and the intimacy between artist and sitter.

• XV: The Literary Tastes and Accomplishments of the Empress Dowager

  The Empress Dowager's calligraphy, her appreciation of theater, and her creation of perfumes and soaps are presented as forms of artistic expression.

• XVII: The Summer Palace and Its Grounds

  The chapter explores Chinese architecture as an art form, blending nature and design, and the aesthetic of the palace grounds.

• XVIII: The Festival of the Harvest Moon—Work on the Portrait

  The chapter highlights the tension between artistic expression and the rigid conventions of Chinese imperial portraiture, as the artist must follow centuries-old rules that limit realism and creativity.

• XX: I Begin a Second Portrait of Her Majesty—The Palace Painters

  The chapter contrasts Western and Chinese painting methods, discusses the formal requirements of an official portrait versus an informal one, and highlights the role of the Empress Dowager's court painters.

• XXIV: The Winter Palace

  Carl's role as portrait painter is central, and the chapter details the artistic features of the Winter Palace, including the throne-room and the studio space.

• XXV: Peking—Beginning the Portrait for St. Louis

  The chapter focuses on the creation of the Empress Dowager's portrait, highlighting the artistic challenges and the symbolic elements required for the ceremonial portrait.

• XXVII: Present-Giving in China

  The Empress Dowager's design of clothing for Carl, including copying from old pictures and prints, reflects the artistic and representational aspects of dress and gift-giving.

• XXVIII: Some Winter Days at the Palace

  Carl struggles with the constraints of traditional Chinese portraiture, having to conform to convention and tradition.

• XXXII: The Chinese New Year—Official Audience

  The portrait work continues, with adjustments to the hands and the move to a new studio. The chapter also describes the artistic displays of lanterns and fireworks.

• XXXIV: Finishing and Sending Off the Portrait

  The portrait's creation and viewing highlight the role of art in representing imperial power and the Empress Dowager's image.

• XXXV: Return to the Summer Palace

  The chapter focuses on the creation and display of the Empress Dowager's portrait, highlighting the tension between artistic integrity and courtly expectations.

• List of Illustrations

  The list of illustrations highlights the visual documentation of the court and its members.