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Lot Essay
From the two characters Huanwen and two artist seals: ’He Shikui’ and ‘Huanwen’, on the painting it is possible to ascertain the artist as He Shikui, also known as under his pseudonym as Huanwen, a well-known court artist who died circa 1845.
The most significant person in the present painting is undoubtedly the figure dressed in a deep blue robe seated on a daybed inlaid with marbled panels (fig. 1A). It is possible that this central figure depicts the Daoguang Emperor (reigned 1820-1850). Close examination, the facial features of this central figure bear an uncanny resemblance to various known depictions of the Emperor, such as in the painting Xiyi qiuting tu, Autumn Courtyard Full of Joy (fig. 2) dating circa 1833-1834, in the collection of the Palace Museum, Beijing (see fig. 1B for detail). It is interesting to note that the Palace Museum painting is also by the artist, He Shikui. The facial characteristics that immediately catch one’s attention are the ‘split’ eyebrows, long flattened nose, wispy moustache, chiselled cheekbones and full lips. Interestingly the pose and costume are very similar too. The present figure is wearing informal clothes (changfu pao), a blue coloured robe adorned with catfishes and endless knots (symbols of abundant wealth and longevity). A robe of this identical design is in the collection of the Palace Museum, Beijing. A jadeite snuff bottle is shown in sitter’s hand and in the other portrait of the Daoguang Emperor, snuff bottles lie on the Kang table. A number of jadeite bottles of these shapes remain in the collections of both Palace Museum collections.
The central placement and larger size of the central seated figure implies that his family status is of the highest importance. However, the sapphire mounted on his hat, is not one that an emperor would wear, and does pose a serious protocol issue. It is possible that this may have been an honest mistake by a studio hand, and that as a preparatory painting thus the error was not corrected. Alternatively this oversight may have been due to the fact that this painting was an informal rather than an official portrait.
When compared to details from the Beijing painting mentioned above, the composition of the present painting would also strongly indicate an imperial connection as identified by the courtyard setting and the sitters. Perhaps the most tantalizing link is the identical Taihu rock in the foreground of both paintings. Besides minor adjustments in the lower quadrants of the rock, it appears they are almost identical (figs.3A&B). Similarly, the chrysanthemum-pattern pebble pathways and natural rockwork steps that lead into the buildings in both paintings are indicative of a similar imperial garden setting. Other similarities that are worthy of note are the marbled and red-lacquered flower-bed surrounds; the cranes dotting the background details all in a western linear perspective; and the porcelain dragon and phoenix cups (underglaze red in lot 3042, underglaze blue in the Palace painting) each with identical silver or gold stepped covers and ingot-shaped stands.
The figure illustrated in the lower right corner (fig. 4) maybe a depiction of Prince Yizhu, who later ascended the throne as the Xianfeng Emperor. The damask design of a five-clawed dragon on his brown robe is clearly depicted, while a red knot (representing the highest rank) appears to provide the finial on his cap (fig. 4A). This suggests that the figure represents a young noble prince from the imperial family. Prince Yizhu would have been about 13 or 14 years old at the time when this painting was executed. A comparison between this figure, and those of known images of the Xianfeng Emperor bear startling similarities, including the elongated face, bone structure, large flat ears, large nose and full lips (figs. 4B&C).
It is possible that the present painting was a special commission by Prince Yizhu for display in his own residence. If this is the case then it explains why the painting lacks imperial seals of the Daoguang Emperor and any-or as yet to be discovered-written court records for its commission.
Further examination of the female figures in the painting and based on the assumption that this painting was executed around 1844-1845, it is possible for other sitters to be identified. If the central figure is Daoguang, the female figures depicted alongside would be closely related to him. Under this theory, the elderly female depicted can be assumed as the Empress Dowager Gongci (1776-1850) (fig. 5A).
A comparison of known images of the Empress Dowager and the figure seated second from the left on the veranda (figs. 5A&B) show a remarkable similarity in the bone structure of the face, with high cheekbones, elongated face and wide forehead. Thus the physiognomies of at least three main characters in this painting appear to align with their imperial family counterparts. The accumulation of data from mere observation of the pictorial information would suggests far more than pure coincidence at work.
For possible identification of the remaining ladies and children, see the expanded notes available for this lot.
He Shikui was an important court artist during the first half of the 19th century. It is recorded that He Shikui was promoted in 1824 and served in the imperial atelier, Ruyi guan (The Palace of Wishes Fulfilled) for thirteen years. Imperial records note that one of Daoguang’s portraits, Songliang xiajian tu (Emperor Daoguang under the Summer Pines) was painted by He Shikui and other court artists in the fourth year of Daoguang (1823).
The most significant person in the present painting is undoubtedly the figure dressed in a deep blue robe seated on a daybed inlaid with marbled panels (fig. 1A). It is possible that this central figure depicts the Daoguang Emperor (reigned 1820-1850). Close examination, the facial features of this central figure bear an uncanny resemblance to various known depictions of the Emperor, such as in the painting Xiyi qiuting tu, Autumn Courtyard Full of Joy (fig. 2) dating circa 1833-1834, in the collection of the Palace Museum, Beijing (see fig. 1B for detail). It is interesting to note that the Palace Museum painting is also by the artist, He Shikui. The facial characteristics that immediately catch one’s attention are the ‘split’ eyebrows, long flattened nose, wispy moustache, chiselled cheekbones and full lips. Interestingly the pose and costume are very similar too. The present figure is wearing informal clothes (changfu pao), a blue coloured robe adorned with catfishes and endless knots (symbols of abundant wealth and longevity). A robe of this identical design is in the collection of the Palace Museum, Beijing. A jadeite snuff bottle is shown in sitter’s hand and in the other portrait of the Daoguang Emperor, snuff bottles lie on the Kang table. A number of jadeite bottles of these shapes remain in the collections of both Palace Museum collections.
The central placement and larger size of the central seated figure implies that his family status is of the highest importance. However, the sapphire mounted on his hat, is not one that an emperor would wear, and does pose a serious protocol issue. It is possible that this may have been an honest mistake by a studio hand, and that as a preparatory painting thus the error was not corrected. Alternatively this oversight may have been due to the fact that this painting was an informal rather than an official portrait.
When compared to details from the Beijing painting mentioned above, the composition of the present painting would also strongly indicate an imperial connection as identified by the courtyard setting and the sitters. Perhaps the most tantalizing link is the identical Taihu rock in the foreground of both paintings. Besides minor adjustments in the lower quadrants of the rock, it appears they are almost identical (figs.3A&B). Similarly, the chrysanthemum-pattern pebble pathways and natural rockwork steps that lead into the buildings in both paintings are indicative of a similar imperial garden setting. Other similarities that are worthy of note are the marbled and red-lacquered flower-bed surrounds; the cranes dotting the background details all in a western linear perspective; and the porcelain dragon and phoenix cups (underglaze red in lot 3042, underglaze blue in the Palace painting) each with identical silver or gold stepped covers and ingot-shaped stands.
The figure illustrated in the lower right corner (fig. 4) maybe a depiction of Prince Yizhu, who later ascended the throne as the Xianfeng Emperor. The damask design of a five-clawed dragon on his brown robe is clearly depicted, while a red knot (representing the highest rank) appears to provide the finial on his cap (fig. 4A). This suggests that the figure represents a young noble prince from the imperial family. Prince Yizhu would have been about 13 or 14 years old at the time when this painting was executed. A comparison between this figure, and those of known images of the Xianfeng Emperor bear startling similarities, including the elongated face, bone structure, large flat ears, large nose and full lips (figs. 4B&C).
It is possible that the present painting was a special commission by Prince Yizhu for display in his own residence. If this is the case then it explains why the painting lacks imperial seals of the Daoguang Emperor and any-or as yet to be discovered-written court records for its commission.
Further examination of the female figures in the painting and based on the assumption that this painting was executed around 1844-1845, it is possible for other sitters to be identified. If the central figure is Daoguang, the female figures depicted alongside would be closely related to him. Under this theory, the elderly female depicted can be assumed as the Empress Dowager Gongci (1776-1850) (fig. 5A).
A comparison of known images of the Empress Dowager and the figure seated second from the left on the veranda (figs. 5A&B) show a remarkable similarity in the bone structure of the face, with high cheekbones, elongated face and wide forehead. Thus the physiognomies of at least three main characters in this painting appear to align with their imperial family counterparts. The accumulation of data from mere observation of the pictorial information would suggests far more than pure coincidence at work.
For possible identification of the remaining ladies and children, see the expanded notes available for this lot.
He Shikui was an important court artist during the first half of the 19th century. It is recorded that He Shikui was promoted in 1824 and served in the imperial atelier, Ruyi guan (The Palace of Wishes Fulfilled) for thirteen years. Imperial records note that one of Daoguang’s portraits, Songliang xiajian tu (Emperor Daoguang under the Summer Pines) was painted by He Shikui and other court artists in the fourth year of Daoguang (1823).