“Who was Leng Mei?” I ask you. Leng Mei was a painter who lived from 1677 to 1742. He was a native of Jiaozhou in Shandong province. He was a student of Jiao Bingzhen, a noted painter and astronomer.
Leng Mei became a court painter during the Kangxi reign. He remained active until 1742 during the Qianlong period. Leng Mei excelled at depicting human figures. He painted court ladies and classical Chinese beauties. He also painted landscapes, buildings, and animals. His palette was elaborate and rich.
It is widely thought that Chinese painting focuses less on real-life objects. The emphasis is often on harmonizing abstract concepts with nature. Depictions of nature are favored over portraits. But China also had a strong tradition of figurative painting. Important developments occurred during the Qing dynasty. A new style emerged that reconciled Western perspective with traditional techniques. Leng Mei distinguished himself in figure painting. This is notable given the aesthetic orientation toward landscapes.
Leng Mei, Jiao Bingzhen, and Ding Guanpeng were pioneers of figure painting during the Qing dynasty. They were contemporaries whose time at court overlapped. Each artist added their own variations, creating distinctive methods. Few of Jiao Bingzhen’s paintings have survived. Ding Guanpeng emulated Giuseppe Castiglione. His works retained little of traditional Chinese beauty. Leng Mei represents the best of early Qing figure painting. He served the court during three Qing dynasty reigns. These were the Kangxi, Yongzheng, and Qianlong reigns. He was the figure painter most admired by the Qianlong Emperor.
Leng Mei’s courtesy name was Jichen. His sobriquet was Jimen Huashi. He was already serving in the Imperial Painting Academy in 1681. Leng studied with Jiao Bingzhen, an official known for his figure painting. Leng also participated in large-scale projects. These included “The Kangxi Emperor’s Southern Tour” and “The Kangxi Emperor’s Sixtieth Birthday Celebration”. He specialized in painting palace buildings and figures. He was considered the top figure painter for a time.
Sometime during the Yongzheng reign, Leng Mei disappeared from court. Historical records offer little clue as to why. Art historian Nie Chongzheng surmised that Leng Mei lost favor. This may have been due to involvement in internal power struggles. He likely stayed in the palace of Hongli. Hongli was Prince Bao and the future Qianlong Emperor. There, he became the prince’s painter. Another explanation relates to family responsibilities. His court pay may not have been sufficient to support his large family. Leng Mei may have had to sell paintings to support himself.
When Hongli ascended the throne in 1736, Leng was quickly called back. By this point, Leng Mei was old. He was received at court with great courtesy. Consideration was given to his sons and relatives. He received higher pay than most painters. Leng Mei was also given white silk. This was so he might paint as he wished. He was exempt from presenting drafts for approval. He created paintings for the Old Summer Palace for many years. The Qianlong Emperor valued and trusted Leng Mei. Even after his death, paintings without signatures would be signed “Leng Mei”. This was by order of the Qianlong Emperor. It demonstrated his deep appreciation for the artist.
Leng Mei’s paintings at court mostly recorded figures and activities in the palace. Some depicted ancient figures and stories. He was an important figure painter. However, only fourteen of his works were recorded in “The Precious Collection of the Stone Canal Pavilion”. Three works are in the Palace Museum in Beijing. Three works are held by the National Palace Museum in Taipei. Very few of Leng Mei’s paintings circulate in the market.
One exquisite painting is dated to 1713. That year, Leng Mei had been called back to court. He participated in the painting of “The Kangxi Emperor’s 60th Birthday Celebration”. A vivid plum tree serves as the background. The red-robed scholar under the tree is shielded from the snow by a child. Another boy holds up a plum branch. The technique is simple and clear. He used the “three whites technique” to color the faces. He then added shading. The brushwork is light, giving off a refined effect. There is no text associated with the scholar. But these details gave the Qianlong Emperor room to let fancy take flight.
The Qianlong Emperor thought of Lin Bu, a famous poet. Lin Bu lived in seclusion. Though his poetry was admired, he never pursued fame. He only interested himself in calligraphy and cultivating plum trees. The painter did not name the learned man. But the Qianlong Emperor thought of Lin Bu. This shows his understanding of Han culture.
This painting was recorded in “The Precious Collection of the Stone Canal Pavilion”. After the piece was admired by the Emperors Qianlong and Jiaqing, several seals were added. These included “Treasure Personally Appreciated by the Qianlong Emperor”. Also added were “Collected Treasures of the Stony Moat”. The “Record of the Books and Paintings of the Hall of Jubilant Uprightness” seal is related to the Hall of Jubilant Uprightness. This Hall served as the Qianlong Emperor’s study in his youth. This seal implies that Hongli collected the work soon after it was completed.