alb3604616
QIANLONG EMPEROR. (Two Paintings of Deer Antlers
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Titel: (Two Paintings of Deer Antlers
Untertitel: Siehe automatische Übersetzung
Two Paintings of Deer Antlers. Artist: Qianlong Emperor (Chinese, (1711-1799; r. 1736-95)). Culture: China. Dimensions: a: 9 3/4 × 81 1/4 in. (24.8 × 206.4 cm) b: 9 7/8 × 81 1/4 in. (25.1 × 206.4 cm). Date: dated 1762 and 1767. The Qianlong Emperor practiced both calligraphy and painting as a way of identifying himself with Chinese literati ideals of self-cultivation. However, the subject matter of these two scrolls reveals his concomitant desire to align himself with Manchu hunting traditions. Furthermore, the realistic rendering of texture and three-dimensional form reflects the influence of Western pictorial techniques, introduced to the court by Jesuit painters such as Giuseppe Castiglione (1688-1766). The earlier of the two scrolls depicts the antlers of a spotted deer. In his accompanying inscription, the emperor recalls seeing a gigantic pair of eight-point antlers procured by his grandfather, the Kangxi Emperor (r. 1661-1722), in Central Asia--considered at the time to be an auspicious sign. The second scroll, painted five years later, presents the horns of a species known in the West as Père David, so named for the eponymous Jesuit missionary and naturalist (1826-1900) who first recorded it in a Western source. In his accompanying essay, Qianlong describes different deer species and seeks to correct misleading distinctions made in the Book of Rites, a classic Confucian text.
Two Paintings of Deer Antlers. Artist: Qianlong Emperor (Chinese, (1711-1799; r. 1736-95)). Culture: China. Dimensions: a: 9 3/4 × 81 1/4 in. (24.8 × 206.4 cm) b: 9 7/8 × 81 1/4 in. (25.1 × 206.4 cm). Date: dated 1762 and 1767. The Qianlong Emperor practiced both calligraphy and painting as a way of identifying himself with Chinese literati ideals of self-cultivation. However, the subject matter of these two scrolls reveals his concomitant desire to align himself with Manchu hunting traditions. Furthermore, the realistic rendering of texture and three-dimensional form reflects the influence of Western pictorial techniques, introduced to the court by Jesuit painters such as Giuseppe Castiglione (1688-1766). The earlier of the two scrolls depicts the antlers of a spotted deer. In his accompanying inscription, the emperor recalls seeing a gigantic pair of eight-point antlers procured by his grandfather, the Kangxi Emperor (r. 1661-1722), in Central Asia--considered at the time to be an auspicious sign. The second scroll, painted five years later, presents the horns of a species known in the West as Père David, so named for the eponymous Jesuit missionary and naturalist (1826-1900) who first recorded it in a Western source. In his accompanying essay, Qianlong describes different deer species and seeks to correct misleading distinctions made in the Book of Rites, a classic Confucian text.
Technik/Material: Two handscrolls; ink and color on paper
Zeitraum: Qing dynasty (1644-1911)
Museum: Metropolitan Museum of Art, New York, USA
Bildnachweis: Album
Freigaben (Releases): ? Modellfreigabe: Nein - ? Eigentumsfreigabe: Nein
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Bildgröße: 4800 × 2081 px | 28.6 MB
Druckgröße: 40.6 × 17.6 cm | 1889.8 × 819.3 in (300 dpi)
Schlüsselwörter: ASIA • ASIATISCHE KUNST • CHINA • METROPOLITAN MUSEUM OF ART, NEW YORK, USA • QIANLONG EMPEROR • TINTE
