Cixi (1835~1908), commonly known as the "Queen Mother of the West" among the people, is a well-known figure among women and children. In addition to being good at playing politics and being passionate about politics, Cixi also loved calligraphy and painting in her life. She especially loved to reward ministers with calligraphy and painting "made by herself" to show her favor and win over people's hearts. In fact, Cixi had no artistic talent, and most of her calligraphy and paintings were written by others. The seals stamped with Cixi's special seal became Cixi's own works. Therefore, strictly speaking, it is more accurate to call Cixi's calligraphy and painting Cixi's calligraphy and painting.
Cixi’s calligraphy and painting skills
What is Cixi’s calligraphy and painting skills? This is the key to the collection and appreciation of calligraphy and painting - because only by truly understanding the characteristics of Cixi's calligraphy and painting and finding a "standard instrument" can we distinguish the authenticity of Cixi's calligraphy and painting.
The Palace Museum in Beijing has a piece of the "Prajna Paramita Heart Sutra" written by Cixi in cinnabar ink on July 2, the 30th year of Guangxu's reign (1904), from which we can get a glimpse of the true nature of Cixi's personal letter. The character structure of this sutra is dull and loose, the writing force is weak, immature, and lifeless. It is at the level of a beginner in calligraphy.
The list of books "Shou" vertical scroll
Running script
As for Cixi's handwriting paintings, it can be seen that Cixi's "Polygonium Flower Mantis" is the "treasure of the Empress Dowager Cixi's royal brush" "The painting has the teacher's comments on it, including flattering words such as "the blackboard ink is very good", "good", "has the meaning of the brushwork". However, if you look closely at his paintings, they are also at the level of a beginner; the polygonum flowers are almost like broken branches and dead leaves, the branches are not connected, the leaves and flowers are messy, his brushwork is timid and hesitant, and he has no skill at all; a praying mantis is also The painting is out of order and out of order. It can be seen that Cixi's painting ability is far from reaching the level of independent painting.
It can be seen that in fact, Cixi had no artistic talent, and she was too pampered to study hard. Therefore, her calligraphy and painting were always at a rudimentary level, and her writing skills were weak and immature. lethargy.
As the "Mother Queen Mother", Cixi is obviously a person who wants to save face. She wants both fish and cake, and the only way is to find a ghostwriter.
Cixi’s calligraphy and painting ghostwriters
How many ghostwriters did Cixi have? To this day we still don't know for sure. However, what is certain is that Miao Jiahui was Cixi's most important ghostwriter in his later years.
Miao Jiahui (1841-1918), courtesy name Suyun, was born in Kunming, Yunnan. She was smart and kind since childhood, diligent and studious by nature, well versed in calligraphy and history, able to play the piano, good at seal script and calligraphy, and good at calligraphy and painting. Her two works, "Feathers" and "Flowers", were presented to the imperial palace as "tributes" by Zhang Zhidong, the governor of Liangjiang, and she enjoys the reputation of "an outstanding female artist".
The governor of Sichuan learned about the title of Miao Jiahui's painting, "The Post to the Capital". After many written examinations and "explorations" by the Ministry of Internal Affairs, he was finally personally interviewed by the "Empress Dowager". She tried to make a "Monk in a Skin Bag" banner on the spot, but Cixi did not "get her wish". After thinking twice, I simply used the scenery in the Summer Palace to draw the painting "Profound Autumn Rhythm". "The brilliant red flowers are the deepest color, and the thatched pavilions are the farthest. The stone is close to the water, and the water is far away from the stone. It is full of autumn charm. , has a profound background. "Cixi was "overjoyed" and was given the title of "Empress of the Imperial Court", "who stayed with her all day and night."
Cixi was very generous to Miao Jiahui, rewarded her with three-grade clothes, paid her an annual salary of 2,800 taels of silver, and exempted her from kneeling down. Later, she was promoted to the third rank "female official", received an additional 10,000 taels of silver, and was given a "red feather". He often ordered Miao Jiahui to be at her side, teaching her painting at any time, or painting for her. The flowers, birds, insects, fish, landscape banners, and figures painted by her were awarded to her favorite ministers and officials, and the "blessings" and "blessings" of writing on behalf of her were given to her. Big Chinese characters such as "Shou", "Lu" and "Dragon" are hung in the palace. It is said that Miao Jiahui was very diligent in ghostwriting. After she ghostwritten the paintings, all the ministers' families had the flowers and fan scrolls that Cixi admired.
Another painter who ghostwritten for Cixi was Qu Zhaolin (1866-1937), named Renfu, a native of Beijing. "He was dedicated to the inner court and the director of Ruyi Museum in the Qing Dynasty. His fine brushstrokes of flowers and birds are all vivid and natural." Landscapes, figures, flowers and birds are not exquisite, but he is especially good at painting pine and cranes. Although he is famous for painting bats, he is only a social artist. Both Miao Suyun and Miao Suyun are Cixi's ghostwriters, but their styles are still different: Miao Suyun's paintings are mainly boneless flowers; Qu Zhaolin's works have slightly more hooks and lines, and their painting subjects are also more comprehensive. In 1884, when he was 19 years old, he entered the Ruyi Pavilion of the Qing Palace as a servant. He was good at meticulous flowers and birds, and was later promoted to the chief craftsman of the Ruyi Pavilion (now the director).
In the late Qing Dynasty, the court painted pine, crane, Ganoderma lucidum, etc. for Cixi.
These two last court painters died one after another in Beijing in the early Republic of China. Court painting, which had existed for a thousand years, has since withdrawn from the historical stage of Chinese art.
Source: "Art Appreciation" magazine