Abstract

This study analyzes how the Chenghua Emperor (1465 CE - 1487 CE) and his court’s officials use bird and flower paintings to communicate with those who enter the court (officials, foreign dignitaries, educated literati, etc.) about factional support and comment on the political state of the court. During the reign of the Chenghua Emperor, the educated class of painters called the literati painters were partial to the genres of landscape painting, portraiture, and bird and flower painting. As these literati painters were called to the court to serve at the emperor's behest, their painting styles were then used by the emperor and the court officials as means of political communication.

This study makes its conclusions by incorporating evidence gathered from scholarly studies on the Chenghua Emperor’s court, records on political shifts in the court, and observations of the paintings made during the middle of the Ming period. Through the evidence gathered, this study concludes that the commissioning of bird and flower paintings by the emperor was often used to communicate the intentions and factional alignment of the emperor. Additionally, this genre of painting was used by painters who were formerly within the court as a way to air their grievances about their duties within the court.

Advisor

Wee-Siang Ng, Margaret

Second Advisor

Bonk, James

Department

East Asian Studies; History

Disciplines

Asian Art and Architecture | Chinese Studies | Political History

Keywords

the Chenghua Emperor, court painters, literati painters, bird and flower painting, factionalism, middle period Ming dynasty

Publication Date

2025

Degree Granted

Bachelor of Arts

Document Type

Senior Independent Study Thesis

Download

Share

COinS
 

© Copyright 2025 Ryan Q. McLaughlin