With the Empress Dowager of China · Chapter
XXV: Peking—Beginning the Portrait for St. Louis explained
In this chapter, Katherine Carl describes her journey from the United States Legation to the Empress Dowager's Palace, detailing the sights and sounds of Peking.
What happens
In this chapter, Katherine Carl describes her journey from the United States Legation to the Empress Dowager's Palace, detailing the sights and sounds of Peking. She then begins the portrait for St. Louis, facing challenges with lighting and the positioning of the Empress Dowager's hands. After overcoming these obstacles, she sets up a new studio and starts a small study for a larger ceremonial portrait, while the Empress Dowager grows increasingly anxious about rumors of war.
Themes in this chapter
Art and Representation
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.
Cultural Identity and Tradition
The Empress Dowager's insistence on 'Ho-shih' (proper) and tradition in the portrait's composition reflects the deep importance of cultural propriety in Chinese court life.
Observation and Interpretation
Carl's detailed observations of Peking's streets, the palace, and the Empress Dowager's behavior provide an outsider's interpretation of Chinese customs and daily life.
Characters to notice
- Katherine A. Carl
The author and artist, who begins the portrait for St. Louis, struggles with the Empress Dowager's pose and lighting issues, and eventually sets up a new studio.
- Empress Dowager Tze-Hsi
The subject of the portrait, she insists on her preferred hand position and discusses the size of the portrait, while showing anxiety over rumors of war.
- Lady Yu-Keng
Assists by translating Carl's request about hand positioning to the Empress Dowager.
- Prince Ching
Mentioned as one of the great ministers seen on the road, and later involved in the discussion about the throne for the portrait.
- Emperor Kwang-Hsu
Referenced when the Empress Dowager says she will 'speak to the Emperor' about the window changes.
Key passages
“I begged Lady Yu-Keng to ask her to pose her hands differently. She said she could not do such a thing; so, in my inelegant Chinese, I told Her Majesty I did not like her hands as they were. “But I like them like that,” she said, looking at me with a charming expression of amused astonishment, amazed that it was possible for anyone not to like what she liked; and she kept her hands as they were, and I was obliged to begin the picture with the hands in that position.”
Carl asked Lady Yu-Keng to request the Empress Dowager to change her hand position, but Lady Yu-Keng declined. Carl then directly told the Empress Dowager she didn't like the hands, but the Empress Dowager, amused, insisted on keeping them as they were, forcing Carl to start the portrait with that pose.
Highlights the Empress Dowager's authority and Carl's initial struggle with artistic control.
“Her Majesty was greatly exercised when she learned I had done it myself. She said that I should have made the eunuchs “stretch four or five,” until they learned to do one properly. But I hadn’t sufficient canvas for such experiments, and could get no more in China.”
The Empress Dowager was upset that Carl stretched the canvas herself, suggesting she should have made the eunuchs practice on several canvases until they got it right. Carl explained she lacked extra canvas and couldn't obtain more in China.
Shows the Empress Dowager's concern for proper procedure and Carl's practical limitations.