A Royal Invitation for an Unprecedented Portrait
In the summer of 1903, the Forbidden City witnessed an extraordinary cultural exchange when Empress Dowager Cixi, the de facto ruler of China’s Qing dynasty, reluctantly agreed to have her portrait painted by an American artist. This remarkable event unfolded against the backdrop of China’s complex relationship with foreign powers following the Boxer Rebellion.
The idea originated from Sarah Pike Conger, wife of the American minister to China, who had developed an unusual rapport with the Empress Dowager during diplomatic functions. After one such meeting at the Dragon King Temple, Cixi expressed particular admiration for Mrs. Evans, another American visitor whose refined manners contrasted with her expectations of Western women. “I like Mrs. Evans,” Cixi remarked to her lady-in-waiting Der Ling. “She seems a very good lady. Her manners are so correct and different from other American ladies I have met.”
When Conger proposed having American portrait artist Katharine Carl paint Cixi’s likeness, the Empress Dowager reacted with a mixture of curiosity and apprehension. The very concept of sitting for hours for a Western-style oil portrait seemed alien to the 68-year-old ruler. “I’m afraid I shall become an old woman before the portrait is finished,” she worried when Der Ling explained the process.
Bridging Artistic Traditions: East Meets West
The cultural divide between Chinese and Western artistic traditions became immediately apparent in their discussions about the portrait. Cixi, accustomed to Chinese portrait painters who needed only brief observation before creating their works, struggled to comprehend why Carl would require prolonged sittings. “When Chinese artists paint a portrait,” Cixi noted, “they only see the subject once and then begin painting, finishing very quickly. I suppose even your first-class foreign artists couldn’t do that.”
Der Ling patiently explained the fundamental differences in approach: “Chinese and foreign portraits are quite different… When you see the finished portrait, you will understand the difference and why it takes so long to sit.” This exchange highlighted the broader cultural negotiations taking place as Western artistic conventions encountered Chinese imperial traditions.
Security concerns weighed heavily on Cixi’s mind. The prospect of having a foreigner reside in the palace for months unsettled the normally unflappable ruler. “I must have a foreigner staying in the Palace for such a long time,” she fretted. “I am afraid some of the people in the Palace might tell her things which I don’t wish foreigners to know.” Her solution was characteristically meticulous – assigning Der Ling’s family to supervise Carl while confining the artist to the isolated Garden of Prince Chun near the Summer Palace.
The Photographic Prelude: Capturing the Dragon Lady
Before committing to the portrait, Cixi insisted on seeing examples of Carl’s work. When shown Der Ling’s portrait, the Empress Dowager reacted with a mixture of fascination and disapproval. She marveled at the realism but recoiled at the Western clothing depicted. “What a funny picture!” she exclaimed. “It looks just as if it were painted with oil… Your dress is so peculiar. Why are your arms and neck bare? I have heard foreign ladies wear no sleeves and no collars, but I didn’t think it was so ugly as this dress of yours.”
This encounter sparked Cixi’s interest in photography. Der Ling’s brother, Xunling, became the imperial photographer, capturing Cixi in various regal poses. The photographic sessions provided valuable insights into Western visual representation while allowing Cixi to maintain control over her image. She particularly enjoyed posing as Guanyin, the Buddhist goddess of mercy, complete with elaborate costumes and props.
The photographs served multiple purposes – satisfying Cixi’s curiosity about Western technology, allowing her to experiment with self-representation, and providing reference material for Carl’s portrait. “I want to be dressed as the Goddess of Mercy,” Cixi declared during one session. “I have had the dress made… I often dress like the Goddess when I am angry or worried, as it helps me to calm myself.”
The Portrait Sessions: Diplomacy in Brushstrokes
When Carl finally arrived at court, careful protocols governed every interaction. Cixi ordered that no one except Der Ling’s family should speak to the artist, and even the Guangxu Emperor received instructions not to communicate with her. The Empress Dowager’s initial wariness gradually gave way to cautious appreciation after their first meeting. “She seems a very pleasant person,” Cixi observed after seeing Carl’s friendly demeanor.
The portrait sessions became elaborate performances of imperial ritual. Cixi selected yellow robes – the imperial color – with matching accessories, including jade bracelets and fingerguards. She positioned herself on the throne with studied casualness, one hand resting on the cushion. “This is very natural,” Carl approved, “just keep that pose.”
To minimize her discomfort, Cixi devised an ingenious solution – having Der Ling wear her robes and jewelry for most of the sittings while only appearing personally for facial details. “You can wear my gown and jewels instead of me,” she declared. This arrangement allowed the portrait to progress while preserving imperial dignity.
Cultural Negotiations at the Dinner Table
The portrait project necessitated unprecedented accommodations in palace protocol. For the first time, chairs appeared at meals to conform to Western dining customs when Carl was present. “I don’t want Miss Carl to think we are barbarians,” Cixi explained to Der Ling. “Naturally she wouldn’t know that it is our custom to stand while eating… You must all sit down and eat naturally, as if you were used to sitting while eating.”
These subtle adjustments revealed Cixi’s sophisticated approach to cultural diplomacy. While maintaining Qing traditions internally, she carefully curated China’s image for foreign observers. The Empress Dowager even arranged for Western-style meals and champagne to be served to Carl, based on her belief that “all foreign ladies drink wine at dinner.”
Legacy of an Imperial Image
The completed portrait represented more than artistic achievement – it symbolized Cixi’s complex engagement with the modern world. While initially resistant, she came to appreciate Western artistic techniques while remaining firmly rooted in Chinese traditions. The project demonstrated her pragmatism in navigating China’s place between tradition and modernity during the dynasty’s final years.
Through Der Ling’s mediation, two cultural worlds found temporary harmony. The portrait sessions became a microcosm of China’s broader struggle to define its identity amid increasing Western influence. Cixi’s careful management of the process – controlling access, adapting protocols, and ultimately approving the unconventional artwork – revealed her political acumen in shaping China’s international image while preserving imperial authority.
This remarkable cultural encounter left behind not only a valuable artistic record but also insights into the Qing court’s final years. The portrait project, like Cixi herself, straddled two eras – one rooted in centuries of imperial tradition, the other facing the unavoidable challenges of a changing world order.