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"Qianlong"
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New Qing Imperial History
New Qing Imperial History uses the Manchu summer capital of Chengde and associated architecture, art and ritual activity as the focus for an exploration of the importance of Inner Asia and Tibet to the Qing Empire (1636-1911). Well-known contributors argue that the Qing was not simply another Chinese dynasty, but was deeply engaged in Inner Asia not only militarily, but culturally, politically and ideologically. Emphasizing the diverse range of peoples in the Qing empire, this book analyzes the importance to Chinese history of Manchu relations with Tibetan prelates, Mongolian chieftains, and the Turkic elites of Xinjiang. In offering a new appreciation of a culturally and politically complex period, the authors discuss the nature and representation of emperorship, especially under Qianlong (r. 1736-1795), and examine the role of ritual in relations with Inner Asia, including the vaunted (but overrated) tribute system. By using a specific artifact or text as a starting point for analysis in each chapter, the contributors not only include material previously unavailable in English but allow the reader an intimate knowledge of life at Chengde and its significance to the Qing period as a whole.
eBook
Imperial Illusions
In the Forbidden City and other palaces around Beijing, Emperor Qianlong (r. 1736-1795) surrounded himself with monumental paintings of architecture, gardens, people, and faraway places. The best artists of the imperial painting academy, including a number of European missionary painters, used Western perspectival illusionism to transform walls and ceilings with visually striking images that were also deeply meaningful to Qianlong. These unprecedented works not only offer new insights into late imperial China s most influential emperor, but also reflect one way in which Chinese art integrated and domesticated foreign ideas.
In Imperial Illusions, Kristina Kleutghen examines all known surviving examples of the Qing court phenomenon of scenic illusion paintings (tongjinghua), which today remain inaccessible inside the Forbidden City. Produced at the height of early modern cultural exchange between China and Europe, these works have received little scholarly attention. Richly illustrated, Imperial Illusions offers the first comprehensive investigation of the aesthetic, cultural, perceptual, and political importance of these illusionistic paintings essential to Qianlong s world.
For more information: http://arthistorypi.org/books/imperial-illusions
eBook
Henri Bertin and Louis XV’s Gifts to the Qianlong Emperor
En 1764, Henri Bertin, ministre d’État de Louis XV, procure des instructions au sujet des arts et manufactures français à deux chrétiens chinois, Aloys Ko et Étienne Yang, afin qu’à leur retour ils soient capables de faire des rapports sur les pratiques et techniques chinoises. Prenant la mer en 1765, Ko et Yang emportèrent un ensemble de « présents » – des cadeaux fournis à Bertin par le roi. Ces présents devinrent toutefois l’objet de négociations entre les représentants impériaux, l’empereur et les jésuites français à la cour des Qing. Cet épisode éclaire le rôle des présents diplomatiques en tant que médiateurs politiques et culturels entre deux grandes nations. In 1764, Henri Bertin, a minister of state under Louis XV, provided instruction in French art and manufactures to two Chinese Christians, Aloys Ko and Étienne Yang, so that when they returned they could report on Chinese practices and techniques. Setting sail in 1765, Ko and Yang took a number of gifts—presented to Bertin by the king. The gifts, however, became part of negotiations between imperial officials, the emperor, and the French Jesuits at the Qing court. This episode illuminates the role of diplomatic gifts as political and cultural mediators between two great nations.
Journal Article
Multi-Analytical Assessment of Deterioration in the Qianlong Tripitaka Wooden Scripture Plates
The Qianlong Tripitaka preserved in the Capital Museum is a distinctive large-scale wood block printing plates of the Qing Dynasty. It represents a unique type of Chinese documentary wooden heritage preserved in a dry museum environment, which has rarely been subjected to comprehensive physicochemical analysis, resulting in an inadequate understanding of their deterioration processes. This study applied a comprehensive multi-analytical method to investigate the deterioration of the scripture plates. The findings indicate that the Qianlong Tripitaka shows typical structural deformation, chemical depolymerization, and a decline in structural integrity and stability. Scanning Electron Microscopy (SEM) and Computed Tomography (CT) revealed thinning and the distortion of cell walls, reduced density, and partial collapse of tissue structures. Thermogravimetric Analysis (TGA) indicated lower decomposition temperatures and higher inorganic residues, while a Brunauer–Emmett–Teller surface area analyzer (BET) showed diminished surface area, expanded pores, and compromised connectivity. Moisture content analyses verified significant water loss, contributing to brittleness and susceptibility to microbial degradation. Fourier Transform Infrared Spectroscopy (FTIR) and X-ray Diffraction (XRD) analyses revealed considerable hemicellulose degradation, the disruption of cellulose crystallinity, and relatively stable lignin. This study highlights the value of a multi-analytical strategy for assessing the deterioration of wooden cultural heritage, providing a transferable framework for similar documentary wooden artifacts.
Journal Article
DYNAMIC CHANGE MONITORING OF QIANLONG GARDEN ROCKERY IN FORBIDDEN CITY BASED ON INSAR AND LIDAR TECHNOLOGY
The traditional method of deformation monitoring involves a large amount of external field measurement and internal processing to obtain the deformation of the measured object. With the development of InSAR technology, deformation monitoring can now be completed more efficiently. In this paper, InSAR technology and LiDAR technology are used to detect the deformation of the Fuwangge Rockery in Qianlong Garden, InSAR technology can provide higher point accuracy and LiDAR technology can provide higher spatial resolution. After the deformation of the rockery is obtained by LiDAR technology, the InSAR experimental results are verified. It is expected that the error of deformation analysis by the two methods will be within 5mm. Finally, the detection results of the two are consistent with each other and complement each other. At the same time, InSAR technology combined with LiDAR technology also provides a new idea for deformation monitoring.
Journal Article
Developing a digital archive system for imperial Chinese robe in the Qing Dynasty
The digital archive of cultural heritage provides new opportunities for the protection of the cultural heritage and the development of online museums. One of the essential requirements for the digitization is to achieve accurate colour appearance reproduction. Taking the Imperial Chinese robes in the Qing Dynasty as an example , this study aims to develop a digital achieve system to digitize the robes using a high-end imaging system and accurately reproduce their colour properties on a display. Currently, there has been very limited study focused on the colour reproduction of silk fabrics or other textile materials. The conventional colour management process using a traditional colour chart however, may not be suitable for the reproduction of silk fabrics because they have very high gloss. To address this difficulty, a unique ‘Qianlong Palette’ colour chart, consisting of 210 silk fabric samples, has been specifically produced for optimizing the colour reproduction of silk fabrics and a colour image reproduction system has been developed for the digitization and archiving of the clothing fabric for the royal court. Colour characterisation models using both the ‘Qianlong Palette’ colour chart and the traditional colour chart, and different mapping methods, are compared and the model with highest accuracy used in a self-programmed interface for automatically processing textile images in the future. Finally, the digital archive system has been validated using six garments of silk fabric relics. The colour differences after the colour image reproduction are all less than 3.00ΔE*ab, indicating acceptable colour reproduction of the system. The images after colour reproduction have also been evaluated subjectively by experts from the museum and the results are considered satisfactory. Our results show that the newly designed ‘Qianlong Palette’ colour chart exhibits superior performance over the conventional colour chart in effectively predicting the colour of the silk fabrics. The self-programmed graphical user interface for image colour management can serve as a powerful tool to truly reproduce the colour appearance of various silk fabric relics in museums in the future and digitally archive those valuable cultural relics for different uses.
Journal Article