美国史密斯基金会藏品，雍正的亲家翁，乾隆妻孝贤皇后父母李荣保夫妇画像。
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Portrait of Lirongbao (fl. late 17th century)
18th-19th century
Qing dynasty
Hanging scroll; ink and color on silk
H: 177.6 W: 98.6 cm
China
Purchase--Smithsonian Collections Acquisition Program, and partial gift of Richard G. Pritzlaff, S1991.130
A member of the prominent Manchu Fuca clan, Lirongbao was the least successful of four brothers, all of whom attained high office. Lirongbao, however, was eventually promoted to first-rank official, but this honor came after his death as the result of his daughter's marriage to the prince who later became the Qianlong emperor (reigned 1736–96). When the daughter was promoted to the rank of empress in 1737, Lirongbao's own rank was posthumously elevated to the highest level. The crane badge on his surcoat and the five-clawed dragons on the skirt of his court dress (chaofu) attest to his lofty position. A portrait of his wife is in the Sackler's collection (S1991.129).
Posthumous promotion was a common method for emperors to reward outstanding officials, and from the Chinese Confucian point of view, such promotions were a way for virtuous descendants to heap honor on their ancestors. Promotions in rank naturally called for new paintings of the sitter wearing the clothing appropriate for his higher status. This practice increased the demand for posthumous portraits.
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Portrait of Lirongbao's Wife (fl. 17th century)
18th-19th century
Qing dynasty
Ink and color on silk
H: 177.6 W: 98.6 cm
China
Purchase--Smithsonian Collections Acquisition Program, and partial gift of Richard G. Pritzlaff, S1991.129
This traditional-style ancestor portrait depicts the mother of the Qianlong emperor's first empress, who lived from 1711 to 1748. It forms a pair with that of her husband Lirongbao (see S1991.130). The emperor's mother-in-law wears a lavishly decorated coat, but this attire, lacking court jewelry, is not the highest level of court dress seen in most memorial portraits of people in the imperial circle. Despite this discrepancy in dress, evidence of the unusual care with which this portrait was painted emerged during recent conservation. It was discovered that the rich tone and brilliance of some colors—especially the gold dragons—had been enhanced by applying pigments to the back of the painting as well as on the front, an extra effort that suggests this was a costly commission.
