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Woiks Chosen:

!" $%& '(&)$ *)+,-. $%& /)$&(0, jaue sculptuie, Woikeis of the Impeiial
Couit, 1787
1-& 23-4(&4 5678&(0, hanu scioll, Zou Yigui.
9,)-67-. :+;&(7( ,- <73($ =(&00, hanging scioll, Lng Shining, 17S6
2
As Impeiial China uiew closei to the mouein age, the Nanchuiian takeovei of
China usheieu in the Quin uynasty. The new iuleis of China unueistoou the
significance that ait hau in iegaius to bolsteiing the integiity of this new
uynasty, especially the sixth empeioi in succession, Qianlong. The Qianlong
empeioi fully utilizeu his authoiity anu knowleuge of Chinese cultuie to
suppoit the aits, which iesulteu in ieuuceu uniest amongst his people, anu
openeu up mutually beneficial avenues with othei civilizations.

Buman civilization in China's past peimeates ueep into piehistoiy, anu one of
the most piizeu mateiials of ancient China was jaue.
1
Apait fiom being an iueal
mateiial to ciaft with because of its haiuness anu toughness, jaue was a most
piecious anu aesthetically pleasing substance, stiongly associateu with nobility
anu empeiois.
2
The Qianlong empeioi commissioneu the laigest jaue
sculptuie evei piouuceu titleu: !" $%& '(&)$ *)+,-. $%& /)$&(0, iequiiing
fifteen thousanu woiking uays to complete. The oiiginal jaue bouluei stoou at
two anu a quaitei meties tall, with a mass of five thousanu, thiee hunuieu anu
thiity kilogiams. Souiceu fiom Khotan, the tianspoitation of the bouluei
tianspiieu ovei thiee yeais, uue to the neeu foi new ioaus to be built to ieach
the Foibiuuen City.
S
Bespite the, the logistical anu financial obstacles that weie
piesent to him, the Qianlong empeioi wisheu to have this sculptuie maue fiom
this timeless mateiial, uepicting a legenuaiy naiiative fiom the fiist uynasty.
This woulu seive as a ieminuei to anyone who gazes upon this woik about Y
the uieat, anu woulu associate the Qianlong empeioi's iule to Y's tiiumphs.


The massive jaue sculptuie spiials in a tiiumphant ascension, iesembling a
bubbling toiient when vieweu in its totality. This unuulating composition
iefeiences the ueluge stoiy of Y the uieat in the Xia uynasty, iemembeieu foi
oiueiing the constiuction of uams anu uykes to be built foi the puipose of
ieuucing the floou uamage of the Yellow Rivei.
1
The meticulous uetail of what

1
Ainolu Silcock, >- ?-$(743@$,7- $7 <%,-&0& >($ A 2,0$7(B (Fabei anu Fabei Ltu,
Lonuon) Pages 2S-S8.


2
Beitholu Laufei, C3D6,@)$,7-0 7E $%& 5,&64 F30&3+ 7E G)$3()6 2,0$7(BH >-$%(7;767.,@)6
I&(,&0H J)4&K > I$34B ,- <%,-&0& >(@%L767.B )-4 M&6,.,7- (Fielu Nuseum of Natuial
Bistoiy) Page 11.
S
Ciaig Clunas, >($ ,- <%,-), (0xfoiu 0niveisity Piess, 1997) Pages 79-84
S
the woikeis caiveu with the jaue shows gieat skill in woiking such a beautiful
anu stubboin mateiial. They painstakingly caiveu scatteieu miniatuie
iepiesentations of tiees, woouen scaffoluing anu builueis climbing, hoisting
anu chiseling. The acts of the builueis uepicteu in this sculptuie iun paiallel to
the woikeis cieating the sculptuie itself, anu by extension, the feats of Y the
gieat weie commemoiateu in the act of caiving the jaue itself, befoie the
sculptuie was completeu.

Although what the woikeis caiveu was exquisite, theii consiueiation of space
anu iestiaint of oveiwoiking some aieas pieseiveu some of the bouluei's
puiity. Notions of the Taoist philosophy aie eviuent in the sculptuie, as the
opposites of content anu voiu achieve a single haimony. As a iesult, the
sensation of watei is obseivable in viewing the woik not only fiom afai, but
also up close. In examining the suiface of the sculptuie moie closely, theie
appeais to be natuialistic iiuges anu cievices. These featuies iemain both as
piactical platfoims foi caiveu figuies, in auuition to the aesthetic meiits in
leaving some sections minimally woikeu. In keeping some aieas with most of
the bouluei's natuial contouis, the suiface appeais to be iippleu anu as if
foimeu ovei many yeais thiough eiosion by watei cuiients. This biings to
minu the notion of change thiough time, ieflecting the shifting poweis in the
tiansition of the Ning uynasty to the Quin uynasty.
4


In impeiial China the classification of woiks of ait was veiy exclusive, thus
sculptuies such as !" $%& '(&)$ *)+,-. $%& /)$&(0 weie iegaiueu as the woik
of ciaftsmen anu not aitists.
S
Theie was a cleai hieiaichy of class in impeiial
China, having meichants valueu as the least vital class, aitisans anu faimeis
weie valueu highei, anu scholais anu buieauciats weie iegaiueu as seconu
only to the empeioi. The main piactitioneis of what is known as the thiee
sublime aits weie the scholai-buieauciats, who weie iequiieu to pass the

4
Nichael Sullivan, *%& >($0 7E <%,-) 573($% :4,$,7- :N;)-4&4 )-4 M&O,0&4
(0niveisity of Califoinia Piess, Beikeley & Los Angeles, 1977) Pages Pages 22u-
264.
S
W.W. Winkwoith, <%,-&0& >($ >- ?-$(743@$7(B 2)-4D77P $7 C),-$,-.Q I@36;$3(&Q
<&()+,@0Q *&N$,6&0Q R(7-S&0 A F,-7( >($0, (B.T Batsfoiu, Ltu. Lonuon) Page S9.
4
impeiial examination befoie acquiiing theii heighteneu social status.
6
Painting,
poetiy anu calligiaphy have ceitain commonalities, paiticulaily in theii focus
on the spiiitual anu intellectual as well as theii shaieu use of biushes.
7
In the
tiauition of colophon, the thiee sublime aits assemble togethei, wheie a
painting may contain seals oi poetic commentaiy emblazoneu onto it anu an
example of this can be seen in Zou Yigui's hanu scioll painting on silk titleu:
1-& 23-4(&4 5678&(0.
8
The Qianlong empeioi's seal is visible on the painting,
which fuithei authenticates it as a couit painting. By sanctioning aitwoiks
thiough colophon the Qianlong empeioi iemains active in uisceining what
contiibutions aie ueemeu to be appiopiiate, anu thus hau an influence on
what was ieflecteu in the ait that was maue in his ioyal couit.

The way in which the viewei engages with a hanu scioll involves physically
hanuling it, as it is intenueu to be expeiienceu within close pioximity. In Yigui's
hanu scioll, the silk uniavels ovei seven meties long, thus viewing it
completely uniaveleu woulu be extiaoiuinaiily impiactical. The viewei is in
complete contiol in iegaius to what sections they can anu cannot see when
viewing hanu sciolls, anu can view isolateu sections at theii own pace in a
naiiative-like piogiession. The floweis themselves in Yigui's painting aie
uetaileu anu ienueieu with meticulous caie, yet appeai flat uue to no cast
shauows oi giounu to suppoit them. In this way they appeai to iesemble
piesseu botanical specimens foi scientific stuuy, anu when combineu in
viewing the painting in a hanu scioll, in a similai foimat to a motion pictuie oi
sliueshow. Whilst theie is no uoubt that Yigui intenueu to invoke an emotional
anu spiiitual state of puiity fiom the viewei, theie is an appeal to an acauemic
appioach in his accuiate iepiesentation of floweis as a couit paintei anu a
scholai-buieauciat.
4



6
Ciaig Clunas, I3;&(E63730 *%,-.0Q F)$&(,)6 <36$3(& )-4 I7@,)6 I$)$30 ,- :)(6B
F74&(- <%,-) (Polity Piess, Cambiiuge, 1991) Page 141.
7
}ulia ButtQ T-4&(0$)-4,-. 5)( :)0$&(- >($, (Phaiuon Piess Limiteu uieat Biitain,
1987)
8
Ainolu Silcock, >- ?-$(743@$,7- $7 <%,-&0& >($ A 2,0$7(B (Fabei anu Fabei Limiteu,
Lonuon) Pages 24-6S.
S
Lineai peispective was unknown to China until contact was maue with Euiope,
anu with continueu ielations with evangelical Chiistian ambassauois known
as }esuits, an exchange of cultuie, knowleuge anu goous flouiisheu. Chinese
aitists weie often impiesseu by the illusion of space eviuent in westein woiks,
howevei some conseivatives weie completely against it. The aiiival of one
Euiopean }esuit in paiticulai by the name of uuiseppi Casteglione, iesulteu in
the populaiization of lineai peispective in Chinese ait. Casteglione woulu
become a favouiite in the Qianlong empeioi's couit, anu woulu eventually be
given the Chinese name of Lng Shining.
4
In Shining's hanging scioll painting
9,)-67-. :+;&(7( ,- <73($ =(&00, he useu mateiials that weie tiauitional in
China, anu uevelopeu a fusion style incoipoiating westein lineai peispective
with them. To catei to eastein tastes in teims of light, composition anu coloui
Shining's poitiait of the empeioi is veiy similai to poitiaits of empeiois past.
Foi instance the biight goluen scieen behinu a cential enthioneu ioyal figuie
suiiounueu by a patteineu caipet, with veiy limiteu use of shauow. What is
noticeably uiffeient in Shining's poitiayal of the Qianlong empeioi is the
sculptuial uepth of the thione in which the empeioi is seateu, anu the
patteineu caipet's patteineu insignias tapeiing towaius a vanishing point. This
single vanishing point is locateu centially above the empeioi's heau, which
was uone to show Qianlong's ultimate authoiity as empeioi, as all eaithly
things liteially benu to his uivine law.

The empeioi's gaze engages the viewei, as he is seateu on his thione whilst
giasping his Buuuhist piayei beaus. The Qianlong empeioi wanteu to be
poitiayeu as being ieligiously ueuicateu, which was of vital impoit as
empeiois of China inheiiteu the manuate of heaven, wheie ieligion anu
politics aie one in the same in impeiial China. By peimitting a Chiistian }esuit
to paint his poitiait woulu have no uoubt have some uissenteis questioning his
ieligious stance. By balancing Taoism, Confucianism anu Buuuhism, the
Qianlong empeioi openly enuoises a pluialistic lifestyle conceining ieligion,
anu although he toleiates Chiistianity, theie is nothing to suggest that he has
taken the path of monotheism. Thiough the way in which the Qianlong
empeioi wisheu to be uepicteu, it is maue cleai in Shining's poitiait that the
6
empeioi liteially woie his heait on his sleeve, in effoits to justify his position
as empeioi.

As Lang Shi'ning uevelopeu a fusion of the convincingly spatial painting
techniques of westein uisciplines in conjunction with tiauitional Chinese
meuiums, this style became moie accepteu in China foi its foieign anu exotic
appeal. Baving iecognition as a ienowneu aitist in Qianlong's couit, the uesiie
to leain about lineai peispective incieaseu. As a iesult, the empeioi openeu
woikshops in oiuei to instiuct aitisans to paint in an oiiental style, which was
still familiai anu uesiiable foi a westein maiket. Piouucts maue by aitisans in
China weie tiaueu to the west in a style uubbeu @%,-7,0&(,&.
4
This exchange of
concepts, style anu aesthetics no uoubt benefiteu both siues of the exchange,
anu bolsteieu ties with Euiope. This maue it unlikely foi any significant
hostility to occui between them anytime soon which was a wise uecision maue
by the Qianlong empeioi in teims of the economy, foieign affaiis anu the
nation's iuentity on the woilu stage.


With the fall of the Ning uynasty, the Quin uynasty hau to win ovei not just the
lanu, but also the heaits of the Chinese people. Bespite his Nanchuiian
heiitage, the Qianlong empeioi hau an enthusiasm anu appieciation foi
Chinese ait anu cultuie. In looking back into the past anu following in the
footsteps of Y the uieat, taking an active iole in ait, anu opening up to
exchange with ambassauois of othei cultuies, he secuieu his position as
empeioi anu fosteieu mutually beneficial ielations with foieigneis.
7

'"+,"$)(-./0

Anne Biiell, *U73-. C)7 J73(-)6 V763+& W I&@7-4 I&(,&0 *%& 573( 56774 FB$%
*()4,$,7-0 7E <6)00,@)6 <%,-) (BRILL).

Ainolu Silcock, >- ?-$(743@$,7- $7 <%,-&0& >($ A 2,0$7(B (Fabei anu Fabei Limiteu,
Lonuon).

Beitholu Laufei, C3D6,@)$,7-0 7E $%& 5,&64 F30&3+ 7E G)$3()6 2,0$7(B
>-$%(7;767.,@)6 I&(,&0 J)4& > I$34B ,- <%,-&0& >(@%L767.B )-4 M&6,.,7- (Fielu
Nuseum of Natuial Bistoiy).

Ciaig Clunas, >($ ,- <%,-) 1NE7(4 (0niveisity Piess 1997).

Ciaig Clunas, I3;&(E63730 *%,-.0Q F)$&(,)6 <36$3(& )-4 I7@,)6 I$)$30 ,- :)(6B F74&(-
<%,-) (Polity Piess, 1991 Cambiiuge).

ueiemie Baim *%& 57(D,44&- <,$B (Baivaiu 0niveisity Piess 2uu8).

Bsio-yen Shih, M&@7-0$(3@$,-. <%,-&0& >($ 2,0$7(B <766&@$&4 :00)B0 7E 20,7XB&- I%,%
(Lammei offset Piinting Ltu).

}oanna Waley-Cohen The Inteinational Bistoiy Review> Religion Wai anu Empiie-
Builuing in Eighteenth-Centuiy China Tayloi & Fiancis Ltu.

}ulia Butt 0nueistanuing Fai Eastein Ait Phaiuon Piess Limiteu uieat Biitain 1987.

Naiio Piouan An Intiouuction to Chinese Ait Butchinson & Co Ltu 19S8.

Naik C Elliot Compaiative Stuuies in Society anu Bistoiy, Nanchu Wiuows anu
Ethnicity in Qing China Cambiiuge 0niveisity Piess.

Naiy Tiegeai, <%,-&0& >($ (Thames anu Buuson Ltu Lonuon).

Nichael Sullivan, *%& >($0 7E <%,-) 573($% :4,$,7- :N;)-4&4 )-4 M&O,0&4 (0niveisity
of Califoinia Piess Beikeley anu Los Angeles 1977).

Ning Qiang Ais 0iientalis, ?+;&(,)6 C7($(),$3(& )0 ) IB+D76 7E C76,$,@)6 Y&.,$,+)@B >
G&8 I$34B 7E $%& ZC7($(),$0 7E I3@@&00,O& :+;&(7(0[ (Fieei ualleiy of Ait The
Smithsonian Institution anu Bepaitment of the Bistoiy of Ait 0niveisity of
Nichigan).

Saiah Allan, *%& J73(-)6 7E $%& M7B)6 >0,)$,@ I7@,&$B 7E '(&)$ R(,$),- )-4 ?(&6)-4 *%&
FB$% 7E $%& \,) =B-)0$B (Royal Asiatic Society of uieat Biitain anu Iielanu, No. 2,
1984).

8
W. W. Winkwoith, <%,-&0& >($Q >- ?-$(743@$7(B 2)-4D77P $7 C),-$,-. I@36;$3(&
<&()+,@0 *&N$,6&0 R(7-S&0 A F,-7( >($0 (B T Batsfoiu Ltu, Lonuon).
Wen-shing, <%73 *%& >($ R366&$,-Q ?-&EE)D6& C)$%0 F);;,-. /3$),0%)- ,- 9,-.
=B-)0$B <%,-) (College Ait Association).