Exploring the Polished “Facets of Authority” at the National Palace Museum
It’s been a while since my last visit to the National Palace Museum where my discovery of ‘herstory’ in Chinese art has been recounted in an earlier story, “Looking at Chinese Art History Through “Rose-Coloured Glasses’”. Just recently, I went back to the museum in order to catch the exhibition Facets of Authority: A Special Exhibition of Imperial Portraits from the Nanxun Hall before it closes in early April.
Facets of Authority exhibition at the National Palace Museum
Is authority something that can be seen…? This is the question posed by the exhibition’s introductory text to all of its visitors. As its title “Facet of Authority” suggests, the exhibition seeks to explore the idea of authority, examining the way in which power can be expressed and manifested through a multitude of visual techniques.
In 1747, after Qianlong emperor (reigned 1735–1796) — an avid collector of Chinese art — learned that a set of imperial portraits was stored inside the palace’s “Tea Storehouse”, he ordered them to be repaired and remounted. Upon completion of the restoration in the following year, these portraits were then moved to the Nanxun Hall (literally Hall of Southern Fragrance) for storage. Today, most of these official pictures are now in the National Palace Museum collection.
In Facets of Authority: A Special Exhibition of Imperial Portraits from the Nanxun Hall, the exhibition curator, CHIU Shih-Hua, put together a rich selection of portraitures of emperors and empresses, demonstrating how artists from different periods showcased their subjects’ sovereignty through posture, apparel, use of symbolism, and luxurious material culture.
Seated Portrait of Emperor Xiaozong of Ming
National Palace Museum Collection
When speaking of imperial portraiture, the first impression that comes to mind would be something similar to the Seated Portrait of Emperor Xiaozong from the Ming. As if facing the audience at court, the solemn presence of emperor Xiaozong (reigned 1487–1505) is reinforced with his official dragon robe embroidered with the Twelve Ornaments, also known as the Twelve Symbols of Sovereignty.
Besides this ostentatious imperial robe, any viewer with a keen eye would notice that the dragon motif seems to have filled almost every inch of the decorative surface, from folding screen to throne to rug, reinforcing the relation between power and ceremonial. According to CHIU, more than 59 dragons can be found in this mighty portrait. Since dragon was used as the emblem of divine imperial power, the presence of a plethora of such motif in this picture indicated that emperor Xiaozong was, unquestionably, the designated True Dragon, Son of Heaven.
Seated Portrait of Emperor Renzong of the Song
National Palace Museum Collection
As the tale unfolds, I would like to focus more about the kind of portraits that appears to be different from this stereotype, shedding some light on the often overlooked facet of authority that is subtle yet powerful. Such an understated way of expression is perhaps best exemplified by the Seated Portrait of Emperor Renzong of the Song.
In this portrait, the Northern Song emperor Renzong is depicted wearing a plain red robe and a black official’s hat whose wing-like flaps extend horizontally to both sides. Upon a closer look at this understated apparel, viewers would’ve noticed that the emperor’s cuffs and collar reveal an inner garment embroidered with delicate gold patterns. In contrast to the emperor’s seemingly unembellished red garment is the cover for the throne, which carries heavy ornamentation with both imperial and purely decorative patterning.
“If you were an emperor or empress, how would you like the court painter to express your power and authority?”
What’s more, a detailed examination of the emperor’s footwear below reveals that the artist has meticulously applied tiny grey dots on top of the black surface, simulating the velvet-like texture of the footwear in real life. This draughtsmanship and attention to detail offer yet another dimension to this official portrait, adding more to the surface than meets the eye.
Detail of the Seated Portrait of Emperor Renzong of the Song
National Palace Museum Collection
Out of the 25 imperial portriatures on display, my personal favourite is the Seated Portrait of Xuanzu’s Empress of the Song. It turns out that it’s also the first time for this portrait to be shown to the public. There’s plenty of facets of authority in this female portrait — from phoenix headdress to sophisticated apparel to precious jewellery. The lavish chair cover behind the empress also shows emblem of the winged dragon (also known as yinglong) from Chinese mythology, denoting the subject’s high status.
Seated Portrait of Xuanzu’s Empress of the Song
National Palace Museum Collection
This portraiture made an impression on me because it offers a rare glimpse to the material culture of court ladies during the Song dynasty. I was particularly drawn to the semi-translucent gauze garment worn underneath, which extends outside the picture frame at the bottom right corner. As I investigated further, I also noticed a couple of lace-like floral patterns embroidered on the gauze. With such detailed depiction, it’s not difficult to imagine how beautiful and delicate this garment would have been in real life.
Detail of the Seated Portrait of Xuanzu’s Empress of the Song
National Palace Museum Collection
Finally, I would like to end this tale with the portrait of Emperor Shizu of the Yuan. I’ve known about this portrait for over a decade but I didn’t know that it’s being kept in Taipei’s National Palace Museum until now. In this painting, Kublai Khan (1215–1294), the mongol leader who became Emperor Shizu of the Yuan dynasty, wears a plain white robe, similar to the understated apparel of the Northern Song emperor depicted in the aforementioned portrait.
Emperor Shizu of the Yuan
National Palace Museum Collection
Besides the design of the cap and a hairstyle that’s typical among the Mongols, the way in which this portrait was painted may appear foreign to viewers who are familiar with Chinese art history. This sense of exoticism is evoked by the use of traditional Nepalese painting technique, allowing the emperor’s visage to be rendered with volume and three-dimensionality.
It is perhaps this realism that makes the portrait — though plain and devoid of any excess ornamentation or symbolism — compelling in the eye of its beholder. Standing right before this portrait that was created more than seven centuries ago, I must admit how impressive I was to realise that something this minimal can achieve an effect that’s the most powerful. Less is indeed more.
If you were an emperor or empress, how would you like the court painter to express your power and authority?
Facets of Authority: A Special Exhibition of Imperial Portraits from the Nanxun Hall is on view at the National Palace Museum in Taipei and runs through April 6th, 2021. To learn more about other paintings on display, visit the exhibition website here.