This article explores the evolving Chinese representations of Queen Victoria from the First Opium War (1839) to her Diamond Jubilee (1897), beginning with early Qing official histories that deliberately omitted or delegitimized her presence, portraying her implicitly as a female usurper whose rule violated Confucian gender norms and dynastic orthodoxy. Such initial silencing is later juxtaposed with increasingly complex portrayals across a broad spectrum of textual and visual sources, including painting captions, diplomatic travelogues, private poems, newspaper reports, and illustrations. Focusing on envoys like Binchun, whose cautious official diary contrasts with his more admiring private poetry, and Zhang Zuyi, whose pseudonymous writings convey ambivalence and critique, the essay examines how rhetorical strategies were shaped by genre, anonymity, and audience. The analysis also extends to popular and elite print culture, particularly Dianshizhai Pictorial and Shenbao , to trace how Queen Victoria’s image circulated among both literate and semiliterate readers. Throughout, the article argues that acts of translation and mediation—visual, linguistic, and ideological—shaped not only perceptions of the British monarch but also reflected the fractured modernity of the Qing empire. The study contributes to global Victorian studies by foregrounding non-Western receptions and complicating imperial iconography through a Sinocentric lens.
Di Wu (Fri,) studied this question.