Unveiling a new perspective? ‘China’s Hidden Century’ Exhibition Review
The British Museum
18 May 2023 – 8 October 2023
The remarkable exhibition at the British Museum drew to a close in early October, about three months ago.
Entitled ‘China’s Hidden Century’, it was a groundbreaking art exhibition focused on a specific historical fragment— the 19th-century Qing dynasty, China. Described by the curators as the first of its kind, the exhibition delved into a century shaped by the dual challenge of civil uprisings and foreign wars, ultimately leading to the finale of her imperial regime. During this era, the prevalent perception of China’s experience was one of failure and hardship. For the nation, it is often regarded as a period of humiliation.
In light of this historical context, overshadowed by the civil turbulence and the extravagant lifestyle of the Empress Dowager Cixi, cultural aspects of development during this period have often been overlooked. This exhibition may, however, offer a new perspective for the audience. After four years of extensive research, involving over 100 scholars from 14 countries, the exhibition presents a collection of 300 objects from various parts of the world. The entire display is organised into six sections, each encapsulating a unique theme: Court, Military, Artists, Everyday Life, Global Qing, and Reform to Revolution. Through these thoughtfully selected themes, the exhibition reveals a comprehensive exploration of facets related to the Qing dynasty, showcasing the curators’ intent to surpass the conventional association solely with the court and the representation of royalty. Considering this, my review aims to explore the significance of this exhibition, with a particular focus on symbolic objects and representations of female figures. It seeks to examine the success or failure of revealing a new perspective on China through this focused study.
Upon entering, visitors encounter blinds adorned with silhouettes depicting characterised figures from the Qing dynasty [fig.1]. Accompanying these images is a poignant caption:
“Who, me? What is rare about me? My talent, my capabilities, they are but shadows…
(我 呀，有什麼稀罕︖我的本事，不過影⼦罷……) ”
[fig.1] Photograph of the blind with silhouettes, featuring figures from the Qing dynasty. Upon the entrance.
This excerpt from the Manchu poet Bujilgen Jakdan's work, Song Mumbled Drunkenly sets a poetic and mesmerising tone for the exhibition. In my personal interpretation, the former grandeur and glory of these individuals have transformed into fading memories within the collective, transitioning from named to nameless and unrecognisable. This notion is explicitly conveyed through the advertising image of the exhibition, featuring a portrait of an elderly woman (Lady Li, fig.4) appearing rather unamazed, visually. This theme is further underscored in the portrayal of various female figures later in the exhibition, characterised by their rather unadorned and ordinary depictions.Moving onwards, the audience is presented with the striking piece: All Under Heaven Complete Map of the Everlasting Unified Qing Empire (⼤清萬年⼀統地理全圖) [fig.2]. This gigantic map with an emphasis on this bold, striking blue evokes the majestic splendour; while the curvilinear forms suggest the continuity and fluidity of the nation. Colour holds remarkable meaning in classical Chinese tradition, and the deliberate choice of vivid blue for this map is no coincidence. The use of blue, complemented by blue-green accents for oceans, likely symbolises the Qing dynasty. Both colours, are encapsulated by the traditional term ‘青’, which shares the same pronunciation as the character representing Qing ‘清’ in Qing dynasty. Notably, ‘青’ as well is understood as a colour symbolises the East:
「青，東⽅⾊也。」
——《說⽂解字》
In traditional Chinese iconography, blue refers to prosperity and carries an immortal undertone, which again emphasises the ‘everlasting’ nature of the Great Qing, as reflected in the title.
The map comprises eight scrolls, which amplifies the grandeur of the nation, not only in a geographical sense but more so, the metaphorical vision and horizon. With the Qing Empire reigning over one-third of the global population by 1796 and having built one of the most flourishing empires in world history, it's not surprising that Europe is merely portrayed as white dots scattered on the far left in the composition. While appearing to be primarily a map of China, this map actually encompasses all regions influenced by the Qing Empire, spanning England, Holland, Southeast Asia, Arabia, and Africa. Thereby, it can be viewed both as a manifesto with political implication celebrating the integrity and grandeur of Qing China, and as a practical administrative record.
[fig.2] All Under Heaven Complete Map of the Everlasting Unified Qing Empire (⼤清萬年⼀統地理全圖), 55 x 98 in (139.7 x 248.92cm), c.1800. The British Library.
Moving on, this splendid garment provides a glimpse into the extravagant lifestyle of Empress Dowager Cixi [fig.3]. Adorned with intricate Japanese kimono motifs, it prominently features auspicious symbols, such as peonies and a phoenix with a peacock tail. More significantly, the symbols convey the supreme dominance of femininity. Despite the meticulous embroidery of this robe, the wearer herself is not exempt from notorious and decadent criticisms. Several scholars who wrote about Cixi deemed her as “the quintessence of Asian female evil.” This perception is perhaps less surprising when one considers an empress who owned hundreds of casual robes and her routine change of costumes, averaging 10 times a day— an extravagant habit that has drawn notoriety and raised questions about her imperial persona.
[fig.3] Empress Dowager Cixi’s robe, China,
about 1880-1908. The Metropolitan Museum
of Art, New York.
However, this facet is not representative of the Qing women. The exhibition dedicated considerable effort in shedding light on the lives of the ordinary individuals, echoing the concept symbolised by the silhouette figures positioned at the entrance. This, thus reveals a reversed perspective.
For instance, the portrait of Lady Li in [fig.4]. Little is known about her life; she is the spouse of a successful businessman Lu Xifu (陸禧甫), based in the Guangzhou (Canton) district. This solemn portrait of the ordinary, yet elegantly dressed woman serves as an ancestral portrait to be hung in the family shrine. Above the figure, an inscription details her lifetime achievements, praising her as ‘Elegant in demeanour, modest and discreet in behaviour’ (端莊表度 淑慎其儀). The inscription further describes the rewards of a prosperous family with many descendants, attributed it to her cultivation of virtue (修德獲報), under her Buddhist practice. These contrasting depictions of Empress Dowager Cixi and Lady Li serve to highlight the multifaceted representation of female figures in the Qing dynasty. This duality encompasses both the noble and the ordinary, the notorious and the virtuous, offering a comprehensive view of the diverse roles and personas within the historical context.
[fig.4] Unidentified artist, ‘Portrait of Lady Li (Lu Xifu’s Wife)’. Ink and colour on paper, China, about 1876. Royal Ontario Museum, Toronto, Canada.
As approaching the final section of the exhibition, aptly named ‘Reform to Revolution’, the focal point rests on the photographic portraits of the revolutionary figure, Qiu Jin [fig.5]. Diverging from Lady Li, Qiu Jin, another prominent female figure, challenges patriarchal norms with her rebellious nature, establishing herself as a national heroine, a martyr of republicanism and feminism. As a poet and writer, Qiu Jin took revolutionary steps. She adopted a ‘feminist’ style, amplified by her study in Japan, where she gained a more modern and advanced perspective. Prior to her study in Japan, she left her husband and two children, describing the experience of marriage as a ‘double slavery’ — all Chinese being slaves of the Manchus, and as a wife, she was enslaved to her husband.
[fig.5] A collage of the Portraits of Qiu Jin (1875-1907), displaying on a digital screen. Wisconsin Historical Society, WHI- 111120 (central image).
The portraits in [fig.5] depict various facets of Qiu Jin, yet they share the commonality of evoking a strong sense of resilience, boldness, and manliness within her femininity. The central portrayal of Qiu Jin with a sword epitomises her lifelong fascination with this object, and can be seen as her personal nationalist creed. The two other depictions of Qiu Jin, dressed in both Chinese and Western male attire, further illustrate her manfulness. This quality propelled her involvement in anti-Manchu movements and revolutionary groups, ultimately leading to her tragic death in 1907 at the age of 31. Nonetheless, Qiu Jin’s figure as an extraordinary female protagonist with tenacity and bravery, profoundly resonates with audience, much like her poem displayed on the screen:
“「身不得，男兒列，⼼卻比，男兒烈！」
(Even though biologically I can’t be a man, my heart is stronger, more fierce than a man’s!)
「英雄末路當磨折。」
(A hero at the path’s end must suffer trials and tribulations.)
”
To conclude, ‘China’s Hidden Century’ has undeniably presented us with a rare perspective. Going beyond a stark and unvarnished portrayal of the era, as exemplified by the actual document of The Treaty of Nanjing (1842), the exhibition offers a fresh perspective on the Qing dynasty. This involves illuminating the authentic experiences of ordinary individuals and capturing the grandeur of the nation, the courage of her people— aspects often overlooked. Against the backdrop of a humiliating past, the display of the grand map appears to convey the Qing’s prosperous scenery on a global scale; while the depiction of Lady Li and as the cover image signifies a vision to explore the dynasty’s history from an ordinary perspective. It is noteworthy that the inclusion of a diverse range of female figures has shed light not only on the lives of the ordinary but also on women— whether virtuous or infamous— who are commonly dismissed in the long canal of history. China’s Hidden Century successfully uncovered this.
Sources
https://www.britishmuseum.org/blog/introduction-19th-century-china
https://collections.rom.on.ca/objects/354638/portrait-of-lady-li-
https://www.geographicus.com/P/AntiqueMap/daqingqannianyitong-qing-1811
https://wisconsinhistory.org/Records/Image/IM111120
Laura Cumming, ‘China’s Hidden Century review - a revelation from first to last’, The Guardian, https://www.theguardian.com/artanddesign/2023/may/21/chinas-hidden-century-british-museum london-review-a-revelation-from-first-to-last
Summer Palace: Cixi and the Decline of the Qing Dynasty. Contemporary Arts Media distributor, 2010. https://www-bloomsburyvideolibrary-com.libproxy.ucl.ac.uk/video?docid=IC Summer2&tocid=IC-Summer2_6311366067112
Idema, Wilt, and Beata Grant, “The Beheaded Feminist: Qiu Jin.” The Red Brush: Writing Women of Imperial China, 1st ed., vol.231, Harvard University Asia Center, 2004, pp. 767-808. https:// doi.org/10.2307/j.ctt1tg5kw2.24
Ying-chen Peng (2022, July 11), ‘Cixi, Empress Dowager’, Grove Art Online, https://doi org.libproxy.ucl.ac.uk/10.1093/oao/9781884446054.013.90000138491
Yuhang, Li, and Harriet T. Zurndorfer, “Rethinking Empress Dowager Cixi through the Production of Art.” Nan Nü: Men, Women, and Gender in Early and Imperial China, vol. 14, no.1, 2012, https://doi.org/10.1163/156853212X651960
Photo Source: South China Morning Post (SCMP)
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