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Kristina Kleutghen is assistant professor of art history and archaeology at Washington University in St. Louis.

出版者:University of Washington Press

作者:Kristina Kleutghen

出品人:

页数:384

译者:

出版时间:2014-11-21

价格:USD 70.00

装帧:Hardcover

isbn号码:9780295994109

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图书标签:

艺术史
海外中国研究
清史
藝術史
英文原版
清代宮廷繪畫
历史
Visuality

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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.

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Kristina Kleutghen, Imperial Illusions: Crossing Pictorial Boundaries in the Qing Palaces (Seattle & London: University of Washington Press, 2015) 李啓樂，《帝國幻景：橫貫圖像邊界在清宮》（華盛頓大學出版社，2015年，384頁，112幅彩圖）已發表于《藝術史研究》...

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缺一个更强壮的主题把书中的四个主要部分连接起来，显得有些散。

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Stimulating study of a new genre of painting resulted from a series of clashes, not simply between civilisations, but between skills, visions and forms of art.

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賴毓芝(Lai Yu-chih)的为此书的所作书评甚好

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Stimulating study of a new genre of painting resulted from a series of clashes, not simply between civilisations, but between skills, visions and forms of art.

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作者注意到的这批“通景画”材料有意思，也让我们更全面看到清宫对线法画的使用与室内空间的结合。第三、四章的对画作的细读映射了历史的一面很精彩，第五章总觉得有点过度阐释，第六章基本跟巫鴻之前一篇论文的论断差别不大。