Seeing the Peony in Early Qing-Dynasty Art: An Embodiment of Individual Identity

Abstract

Within the context of the Manchurians’ conquest of the Ming dynasty and their subsequent establishment of a new imperial rule, the intricate symbolic systems embodied in floral imagery, particularly the peony flowers, instilled a profound sense of insecurity in the nascent Qing court. Despite the government’s strict scrutiny of the visual and literary works of literati, as well as the imperial authority’s monopolization of peony portrayals, Yun Shouping and Gao Fenghan’s paintings of peonies exude an air of innocence and purity. However, beneath their seemingly tranquil facade lay internal struggles with themselves in the context of the era, along with a subtle defiance towards the new governing regime. This study examines how the two artists transcended the constraints of traditional depictions and aesthetic conventions surrounding peonies dictated by the highest social class, by analyzing the visual aspects of their peony paintings in conjunction with their biographical accounts, thus individualizing the floral motif with distinctive artistic languages. It exemplifies the reclamation of Yun and Gao’s dominion over each visual realm, wherein they assert their autonomous authority in shaping the conveyed information and emotions through the blossoms, while also finding security and solace in redefining and recontextualizing the subject matter whose symbolic significance has endured for millennia.