Court Life in China by Isaac Taylor Headland (miss read books txt) 📕

The next great reform undertaken by the Empress Dowager was her crusade against opium. The importance of this can only be estimated when we consider the prevalence of the use of the drug throughout the empire. The Chinese tell us that thirty to forty per cent. of the adult population are addicted to the use of the drug.

One day while walking along the street in Peking, I passed a gateway from which there came an odour that was not only offensive but sickening. I went on a little distance further and entered one of the best curio shops of the city, and going into the back room, I found the odour of the street emphasized tenfold, as one of the employees of the firm had just finished his smoke. I left this shop and went to another where the proprietor had entirely ruined his business by his use of the drug, and it was about this time that the Empress Dowager issued the following edict:

“Since the first prohibition of opium, almost the whole of China has been flooded with the poison. Smokers of opium have wasted their time, neglected their employment, ruined their constitutions, and impoverished their households. For several decades therefore China has presented a spectacle of increasing poverty and weakness. To merely mention the matter, arouses our indignation. The court has now determined to make China powerful, and to this end we urge our people to reformation in this respect.

“We, therefore, decree that within a limit of ten years this injurious filth shall be completely swept away. We further order the Council of State to consider means of prohibition both of growing the poppy and smoking the opium.”

The Council of State at once drew up regulations designed to carry out this decree. They were among others:

That all opium-smokers be required to report and take out a license.

Officials using the drug were divided into two classes. Young men must be cured of the habit within six months, while for old men no limit was fixed. But both classes, while under treatment, must furnish satisfactory substitutes, at their own expense, to attend to the duties of their office.

All opium dens must be closed within six months, after which time no opium-pipes nor lamps may be either made or sold. Though shops for the sale of the drug may continue for ten years, the limit of the traffic.

The government promises to provide medicine for the cure of the habit, and encourages the formation of anti-opium societies, but will not allow these societies to discuss other political matters.

Next to China Great Britain is the party most affected by this movement towards reform. When this edict was issued Great Britain was shipping annually fifty thousand chests of opium to the Chinese market, but at once agreed that if China was sincere in her desire for reform, and cut off her own domestic productions at the rate of ten per cent. per annum, she would decrease her trade at a similar rate. It is unfortunate that the Empress Dowager should have died before this reform had been carried to a successful culmination, but whatever may be the result of the movement the fact and the credit of its initiation will ever belong to her.

Such are some of the special reform measures instituted by the Empress Dowager, but in addition to these she has seen to it that the Emperor’s efforts to establish a Board of Railroads, a Board of Mines, educational institutions on the plans of those of the West, should all be carried out. She has not only done away with the old system of examinations, but has introduced a new scheme by which all those who have graduated from American or European colleges may obtain Chinese degrees and be entitled to hold office under the government, by passing satisfactory examinations, not a small part of which is the diploma or diplomas which they hold. Such an examination has already been held and a large number of Western graduates, most of them Christian, were given the Chu-jen or Han-lin degrees.

The Empress Dowager—As an Artist

There is no genre that the Chinese artist has not attempted. They have treated in turn mythological, religious and historical subjects of every kind; they have painted scenes of daily familiar life, as well as those inspired by poetry and romance; sketched still life, landscapes and portraits. Their highest achievements, perhaps, have been in landscapes, which reveal a passionate love for nature, and show with how delicate a charm, how sincere and lively a poetic feeling, they have interpreted its every aspect. They have excelled too at all periods in the painting of animals and birds, especially of birds and flying insects in conjunction with flowers. —S. W. Bushell in “Chinese Art.”

THE EMPRESS DOWAGER—AS AN ARTIST

One day the head eunuch from the palace of the Princess Shun called at our home to ask Mrs. Headland to go and see the Princess. While sitting in my study and looking at the Chinese paintings hanging on the wall, two of which were from the brush of Her Majesty, he remarked:

“You are fond of Chinese art?”

“I am indeed fond of it,” I answered.

“I notice you have some pictures painted by the Old Buddha,” he continued, referring to the Empress Dowager by a name by which she is popularly known in Peking.

“Yes, I have seven pictures from her brush,” I answered.

“Do you happen to have any from the brush of the Lady Miao, her painting teacher?” he inquired.

“I am sorry to say I have not,” I replied. “I have tried repeatedly to secure one, but thus far have failed. I have inquired at all the best stores on Liu Li Chang, the great curio street, but they have none, and cannot tell me where I can find one.”

“No, you cannot get them in the stores; she does not paint for the trade,” he explained.

“I am sorry,” I continued, “for I should like very much to get one. I am told she is a very good artist.”

“Oh, yes, she paints very well,” he went on in a careless way. “She lives over near our palace. We have a good many of her paintings. They are very easily gotten.”

“It may be easy for you to get them,” I replied, “but it is no small task for me.”

“If you want some,” he volunteered, “I’ll get some for you.”

“That would be very kind of you,” I answered, “but how would you undertake to get them?”

“Oh, I would just steal a few and bring them over to you.”

It is hardly necessary to assure my readers as I did him that I could not approve of this method of obtaining paintings from the Lady Miao’s brush. However he must have told the Princess of my desire, for the next time Mrs. Headland called at the palace the Princess entertained her by showing her a number of paintings by the Lady Miao, together with others from the brush of the Empress Dowager.

“And these are really the work of Her Majesty?” said Mrs. Headland with a rising inflection.

“Yes, indeed,” replied the Princess. “I watched her at work on them. They are genuine.”

It was some weeks thereafter that Mrs. Headland was again invited to call and see the Princess, and to her surprise she was introduced to the Lady Miao, with whom and the Princess she spent a very pleasant social hour or two. When she was about to leave, the Princess, who is the youngest sister of the Empress Yehonala, brought out a picture of a cock about to catch a beetle, which she said she had asked Lady Miao to paint, and which she begged Mrs. Headland to receive as a present from the artist and herself.

During the conversation Mrs. Headland remarked that the Empress Dowager must have begun her study of art many years ago.

“Yes,” said Lady Miao. “We were both young when she began. Shortly after she was taken into the palace she began the study of books, and partly as a diversion, but largely out of her love for art, she took up the brush. She studied the old masters as they have been reproduced by woodcuts in books, and from the paintings that have been preserved in the palace collection, and soon she exhibited rare talent. I was then a young woman, my brothers were artists, my husband had passed away, and I was ordered to appear in the palace and work with her.”

“You are a Chinese, are you not, Lady Miao?”

“Yes,” she replied, “and as it has not been customary for Chinese ladies to appear at court during the present dynasty, I was allowed to unbind my feet, comb my hair in the Manchu style, and wear the gowns of her people.”

“And did you go into the palace every day?”

“When I was young I did. Ten Thousand Years”—another method of speaking of the Empress Dowager—“was very enthusiastic over her art work in those days, and often we spent a large part of the day either with our brushes, or studying the history of art, the examples in the books, or the works of the old masters in the gallery. One of her favourite presents to her friends, as you probably know, is a picture from her own brush, decorated with the impress of her great jade seal, the date, and an appropriate poem by one of the members of the College of Inscriptions. And no presents that she ever gives are prized more highly by the recipients than these paintings.”

I had seen pictures painted by Her Majesty decorating the walls of the palaces of several of the princes, as well as the homes of a number of my official friends. Some of them I thought very attractive, and they seemed to be well done. They were highly prized by their owners, but I was anxious to know what the Lady Miao thought of her ability as an artist, and so I asked:

“Do you consider the Empress Dowager a good painter?”

“The Empress Dowager is a great woman,” she answered. “Of course, as an artist, she is an amateur rather than a professional. Had she devoted herself wholly to art, hers would have been one of the great names among our artists. She wields her brush with a power and precision which only genius added to practice can give. She has a keen appreciation of art, and it is a pity that the cares of state might not have been borne by others, leaving her free to develop her instinct for art.”

The Empress Dowager kept eighteen court painters, selected from among the best artists of the country, and appointed by herself, whose whole duty it was to paint for her. They were divided into three groups, and each group of six persons was required to be on duty ten days of each month. As I was deeply interested in the study of Chinese art I became intimately acquainted with most