Exhibition of paintings of court women reveals changing attitudes toward gender and development, Wang Kaihao reports.

In the late Eastern Han Dynasty (24-220) period, Cai Wenji, a talented poet and musician, was captured by nomads during a war, and gave birth to two children far away from home.

Years later, when the woman finally got the chance to return home, she faced a tough choice, as the journey back meant saying farewell to her children. She shared this poignant experience through her art, becoming a symbol of resilience and the enduring power of culture.

Centuries earlier, when a Western Han Dynasty (206 BC-AD 24) emperor was frozen in his tracks by an approaching bear, his entourage was too frightened to attempt a rescue, apart from one person: Feng Jieyu, a heroic concubine, who stepped forward to protect him.

The actions of these women earned them honor, but they had to face dilemmas as well. Names of many other honorable and heroic women have also been remembered down the generations.

Images of these icons are now on display in a new exhibition by the Palace Museum in Beijing, Timeless Beauties: Figure Paintings from Across the Ages in the Palace Museum Collection.

Eighty-three pieces of art celebrating the spirit and beauty of Chinese women can be seen in the Wenhua Dian (Hall of Literary Brilliance) in the former imperial palace, which is also known as the Forbidden City. Thanks to vivid artistic portrayals, centuries after these women died, their legends continue to resonate and inspire.

The history

In the past, paintings depicting female figures, broadly referred to as shi'nyu tu or "court lady paintings", were a classic genre, with a long history and influence on traditional Chinese art. According to Xing Lunan, an associate researcher at the Palace Museum's department of paintings and calligraphy, and curator of the exhibition, the genre evolved, capturing the characteristics of each era.

"These paintings not only created idealized images of women, but also reflected the changes to their social status and living conditions over time, influenced by shifts in politics, customs, and trends," Xing says.

For example, during the Six Dynasties period — which refers to a period from the 3rd to 6th centuries when the southern part of China was ruled by six dynasties — delicate, refined images were preferred, echoing the then noble taste for inner peace.

Gu Kaizhi, an Eastern Jin Dynasty (317-420) master of painting, was responsible for the milestone Admonitions of the Instructress to Court Ladies, which celebrates honorable women in history and reveals a concern for the politics of his time. Though the original may be too fragile to survive to date, the monochrome Song Dynasty (960-1279) copy on exhibit still allows people to sense the ethos of Gu's era, through his smooth brushwork as well as his delicate and continuous lines.

Meanwhile, the graceful, voluptuous depictions of woman during the Tang Dynasty (618-907) may reflect the social prosperity of the time.

Huishan Shi'nyu Tu (On Court Ladies Waving Fans), which is credited to Tang painter Zhou Fang, is a perfect example.

Through depictions of the activities of 13 courtly women, the scroll adeptly portrays their identities and emotions. The figures are elegantly adorned, with plump, round faces. Born into a prominent family, Zhou was well-acquainted with the extravagant lifestyle of the aristocracy, and his paintings of court ladies often drew inspiration from the leisurely pursuits of noblewomen in real life.

The dignified elegance of the Song and Yuan (1271-1368) paintings, and the delicate and gentle Ming (1368-1644) and Qing (1644-1911) paintings, are both characterized by notable features.

"Early paintings centered around women often served an admonitory function to set moral standards," Xing explains. "After the Tang, the genre of painting beauties became a refined form that depicted the graceful demeanor of women that are pleasing to the eyes."

The sources

Literature, legends, and folklore contribute to another major theme in the shi'nyu tu. Following the rise of urban culture, art gradually expanded beyond the aristocracy and literati and became more public-oriented.

"A tradition of female-themed paintings was formed on the basis of texts," the curator says.

With shoulders shaped as if by carving,

Waist narrow as if bound with white cords.

This famous line from the 3rd-century rhyming prose poem about love, Luo Shen Fu (Ode to the Luo River Goddess), inspired many painters to set their imagination free and depict the perfect women of their hearts.

In one Song Dynasty exhibit, the spatial proportions are harmonious, with the main focus on the central axis of figures, which are depicted using simple yet vigorous lines. However, the unnamed painter anachronistically mixed costumes and settings of their time into this image, which is supposed to represent a period centuries earlier.

Other painters take a more rigorous approach to history. When another Song-era painter based Biographies of Exemplary Women on an earlier painting by Gu Kaizhi — which is itself based on a book from the Western Han period — the Han-style setting and artifacts he incorporated are correctly portrayed.

"Some even echo archaeological discoveries of Han relics," Xing adds. "This painting is of great value not only in terms of art, but also of history."

The value

The curators seek to remind visitors that it's not only female celebrities who deserve to be remembered. Many ordinary women, whose names have not been etched in history, also speak for their gender.

This is why a section of the exhibition is dedicated to reflect the different facets of the everyday life of women in history. They raised silkworms and wove. They enjoyed leisure and played on swings. They teased birds, and had fun with their children.

As He Xie, the exhibition designer, points out, there may be chemistry between visitors and the women on display in the gallery.

In terms of color coordination in the gallery, bold combinations of pink and blue have been chosen to portray the varied, colorful nature of ancient women.

"Regarding the spatial layout, there are no extensive changes," He says. "Instead, adjustments to the visual perspective are achieved through the addition of partitions, railings, walls with windows and moon-shaped gates. Soft partitions, like veils and curtains, have been added to collectively create a subtle atmosphere specific to women."

In addition to artifacts and panels of text, multimedia displays and creative light and shadow installations have been incorporated. An animated video features women of the past engaged in festival activities, allowing viewers to feel as if they are stepping into the lives of ancient noblewomen as they pass through a moon-shaped gate. A poetic painting screen installation creatively presents classic figures from the exhibits.

"A thought-provoking atmosphere is created through poetry, imagery, and silhouettes, helping visitors to appreciate the women depicted in the paintings," He adds.

Timeless Beauties, which runs until end of October, is the final installment in a four-phase exhibition of the Palace Museum's figurative collection that began in 2021.Previous installments focused the spotlight on hermits of high virtue, paragons of national governance, and people of various social classes.

"The purpose is to authentically and responsibly preserve and transmit the cultural heritage of the Forbidden City," says Du Haijiang, deputy director of the Palace Museum. "Using these paintings as a medium to tell compelling stories, we can also promote a sense of cultural pride in our country."