... (1736–1795), the painting is a rare example of Qing court art that reveals how Qianlong furthered his father's artistic vision while formulating his own in the first fifteen years of his long tenure as ruler. This vision involved how to reinterpret and reinvent the Chinese painting tradition through...

... the only art histor­ ­i­cal study to pay at­ fes­ta­tions of Mañjuśrī’s mil­len­ni­um-old vi­sion cult from ten­tion to Qianlong’s ap­pro­pri­a­tion of the vi­sion cult of Chi­nese, Ti­bet­an, and Mon­go­lian sources and tra­di­tions Wutai Shan. In her study of Qianlong’s and his court art­...

.... Stoneware with copper-infused glaze, diam. 17.7 cm. The Metropolitan Museum of Art, Robert Lehman Collection, 1975.1.1661. Artwork in public domain. Photograph: www.metmuseum.org. Figure 4. Jun-inspired vase, Qianlong (r. 1736–1795). Porcelain, diam. of mouth 31.2 cm, diam. of foot 20.7  cm...

... of the same each work after the poem. No other Qianlong court composition, the material plurality of One or Two not composition is known to exist in so many manifesta- only amplifies its message, but also provides a useful tions, which attests to its personal meaning for the em- methodology for approaching...

.... A pa­per slip mounted on silk, bear­ing the la­bel Sections 1, 2, and 9 have no seals across their from Qianlong’s court: “Wang Xizhi Xingrang­ seams; Sections 3 to 8 are all­ connected by seals on tie zhenji” (Genuine traces of their seams. This shows that Zhang’s (and any...

... been in the collection of Prince Bao. Moreover, Shen Yuan was only a draftsman at the Yongzheng court but was promoted to the position of painter in the first year of Qianlong's reign, along with the honor of imperial bestowal of textile. Qianlong evidently had an eye for his talent, likely spotted...

... in the classical manner, as discussed below. In the eighteenth century, the Qianlong emperor thoroughly immersed himself in the arts, recruiting Jiangnan artists to the court and diligently studying the imperial collection. He was both familiar with the history of Chinese art and distrustful of the Jiangnan...

... the successive Kangxi, Yongzheng, and Qianlong emperors) presented imperial portraits to vassal and tributary states, the late-Qing court under Cixi adopted similar hybrid strategies in an attempt to regain a foothold among powerful imperialist nations after debilitating losses in wars and conflicts with England...

... the shores of Kuming Lake. John Finlay, e-mail (The art of the court paintings during the Emperors message to author, February 2, 2014. Kangxi, Yongzheng, and Qianlong period of the Qing YAN GENG A New Earthly Paradise...

.... This eunuch graft had already prompted the heads of the household department and imperial tutors to begin inventorying the art collections. It is likely that Puyi's Xuantong seal was impressed during this process on the artworks, positioned typically below the seal of the Qianlong emperor's son and successor...

... Museum of 15. The painting is also mentioned in Shiqu baoji Art in Arts of Korea (New York: Metropolitan Museum (1745), the catalogue of Qianlong’s collection, but in no of Art, 1998), pp. 380–381. other Chinese source. Fu Shen investigated the scroll for 4...

... in ‘‘curios’’ that sparkle from top to bottom. To the Emperor Qianlong’s Study (Fig. 2). Beginning in the north stands a table. And on the table [is] a vase eighteenth century, the Qing court installed these curio containing a bouquet of pheasant’s feathers. A 6 ARCHIVES OF ASIAN ART...

... miles) directly north for the other three. A Qianlong-period (1736–1795) TRACY MILLER The Eleventh-century Daxiongbaodian 31 Fig. 35. Zishengsi tower at southern end of complex. No date. Photograph by author. 32 ARCHIVES OF ASIAN...

... seals Little is known about Zhao Yan (active early 14th c A on it, and subsequently that of Emperor Qianlong 乾隆 contemporary source indicates that he once served at (r. 1735–1796). The painting remained in the imperial the court of the Mongol princess Sengge Ragi (ca. collection...

... picture in monochrome ink that shows only the left part of the composition and is mounted in a Qing Qianlong–era 乾隆 (1736–1795) album containing Wang Xizhi's 王羲之 (ca. 301–ca. 361) letter “Kuai xue shi qing” 快雪時晴帖 (Clearing after Timely Snow; Figure 3 ). 3 Even though the painter of the original work...

... to the cave until the Qianlong reign-period (1736-1796) .3 Previous scholarship has focused largely on interpreting the emptiness of the cave, and has given scant consideration Fig. I. Exterior...

... chubanshe , 2013 . Wu Weiping 吳偉蘋 . “Qianlong huangdi yu yu banzhi” 乾隆皇帝與玉板指 [ The Qianlong emperor and jade finger rings ]. Gugong wenwu yuekan 故宮文物月刊 / The National Palace Museum Monthly of Chinese Art 367 ( October 2013 ): 94 – 109 . Xi'an shi wenwu baohu kaogusuo 西安市文物保護考古所...

..., The Elegant Brush: Chinese Painting under the Qianlong Wheelwright, p. 76 and n. 19). In another pair in the Idemitsu Museum Emperor, 1735-1795, exhib. cat. (Phoenix: Phoenix Art Museum, 1985), of Art, by Gakuo Zokyo (act. late fifteenth–early sixteenth c the Peach cat. 27; the latter has translations...

... . 122.   G. Zhu, Yongchuang xiaopin , juan 2 . 123.   Brook, Confusions of Pleasure Commerce , 114 ; H. Chen and Shen, Qianlong Zhenze xianzhi , juan 25 . 124.   Z. Shen, Shitian shixuan , juan 10 . 125.   Q. Yang, Wuli lun . 126.   Bray, Technology and Gender...

... of the second ninth lunar month to the seventh day of the tenth lunar lunar month) King Jeongjo, accompanied by his mother, month of 1791. See Seungjeong-won ilgi, Qianlong fifty- Lady Hyegyeong, made a visit to Hyeollung-won sixth year, ninth lunar month, twenty-second day and the mausoleum...