ENDNOTES

NOTES, CHAPTER 1

The major sources for the European palaces used in this essay are Malone, Carroll Brown. History of the Summer Palaces under the Ch’ing Dynasty. Urbana: University of Illinois, 1934; Wong, Young-tsu. A Paradise Lost: The Imperial Garden Yuanming Yuan. Honolulu: University of Hawai’i Press, 2001; and Strassberg, Richard E., “War and Peace: Four Intercultural Landscapes,” in China on Paper: European and Chinese Works from the Late Sixteenth to the Early Nineteenth Century, ed by Marcia Reed and Paola Demattè (Los Angeles: The Getty Research Institute, 2007), pp. 88-137. The quotation in this section is from Beurdeley, Cecile and Michel. Giuseppi Castiglione: A Jesuit Painter at the Court of the Chinese Emperor. Transl. Michael Bullock. Rutland, Vt., and Tokyo: Charles E. Tuttle Co., 1971, p. 68, as cited by Wong, 60.

Strassberg, 120

Malone, 141

Strassberg, 107

Strassberg, 109

Quoted in Malone, 160

Isabelle Landry-Deron, “Portraits croisés Kangxi et Louis XIV,” in Kangxi, Empereur de Chine, 1662-1722: La Cité interdite à Versailles, Musée national du chateau de Versailles, 27 janvier-9 mai 2004. Réunion des musées nationaux, Paris 2004. Pp. 59-63. Other essays in this catalog document the fascinating cultural exchange between these two monarchs.

This album is discussed in China: The Three Emperors, 1662-1795. Ed. by Evelyn S. Rawski and Jessica Rawson. London: Royal Academy of the Arts, 2005. Pp. 429-30.

This painting is discussed in China: The Three Emperors, 1662-1795. Ed. by Evelyn S. Rawski and Jessica Rawson. London: Royal Academy of the Arts, 2005. p. 405.

This painting is reproduced and discussed in Worshiping the Ancestors: Chinese Commemorative Portraits. Ed by Jan Stuart and Evelyn S. Rawski. Washington D.C.: Smithsonian Institution, 2001, p. 122. In a recent exhibition of this painting (seen December 3, 2011), the Sackler Gallery states, “This portrait may reflect the young prince’s 1752 appointment as the head of the Imperial Workshops, which were engaged at the time in planning the new palaces.”

Strassberg, 120.

NOTES, CHAPTER 2

Strassberg 109

Strassberg, 120.

Wong, 63.

Malone 147. Wong 61.

Wong 63

Malone, 149-154.

Malone, 155.

Malone, 155

Malone 155-6.

Wong 64-5. An apparent typographical error mistakes Louis XVI for Louis XV.

Wong, 64.

Malone 159.

Malone, 159.

NOTES, CHAPTER 3

Malone, pp. 109-22.

Harris, David. Of Battle and Beauty: Felice Beato’s Photographs of China. Santa Barbara: Santa Barbara Museum of Art, 1999. Pp 150-52. This is also the source for the captions below. See also Thiriez, Régine, Barbarian Lenses: Western Photographers of the Qianlong Emperor’s European Palaces. Amsterdam: Gordon and Breach, 1998, p. 9, who believes that one or two of these photos could in fact have been taken within the Yuanmingyuan itself.

Qianlong yupin Yuanmingyuan 乾隆御品圓明園 (Qianlong’s Imperial treasure Yuanmingyuan), ed. by Guo Daiheng 郭黛姮. Hangzhou: Zhejiang guji chubanshe, 2007. Pp.145-46 shows the original Yangshi Lei architectural drawing, an early twentieth-century photograph, and a recent photograph. Malone, p. 115, has a photograph, undated, of another glazed tile pagoda at Wanshoushan: “The very precious glazed tile pagao bult by Ch’ien Lung on the north slope of Wan Shou Shan.”

Harris, p. 150.

Harris, p. 151

Harris, pp. 151-52.

On October 18th, Montauban expressed shock and regret at the incineration. “I’ve just been informed…that all the magnificent pagodas, whose marvelous workmanship I had admired are at this moment the victim of flames: a vengeance unworthy of a civilized nation because it destroys the admirable objects that have been respected for several centuries.” Quoted in Thomas, Greg M. “The Looting of Yuanming and the Translation of Chinese Art in Europe,” Nineteenth-Century Art Worldwide: A Journal of Nineteenth-Century Visual Culture, Vol 7, Issue 2, Autumn 2008, p. 19. http://www.19thc-artworldwide.org/index.php/autumn08/93-the-looting-of-yuanming-and-the-translation-of-chinese-art-in-europe

The above account is taken from Li, Lillian M., Alison J. Dray-Novey, and Haili Kong. Beijing: From Imperial Capital to Olympic City. New York: Palgrave Macmillan, 2007, pp. 107-111, which in turn is based on Hevia, James L. English Lessons: The Pedagogy of Imperialism in Nineteenth-Century China. Durham and London: Duke University Press, 2003, Ch. 2.

Frederick Stephenson, At Home and On the Battlefield (London, 1915), 272-273, quoted in Hevia, p. 79.

D. C. Boulger, The Life of Gordon (London, 1897), 45-46, as quoted in Malone, 187-88.

NOTES, CHAPTER 4

Hevia 94-95.

Thomas, Greg M. provides an outstanding discussion of the multiple cultural meanings of this nineteenth-century European Orientalism, in “The Looting of Yuanming and the Translation of Chinese Art in Europe,” Nineteenth-Century Art Worldwide: A Journal of Nineteenth-Century Visual Culture, Vol 7, Issue 2, Autumn 2008. http://www.19thc-artworldwide.org/index.php/autumn08/93-the-looting-of-yuanming-and-the-translation-of-chinese-art-in-europe

The website of the Poly Art Museum states: “Poly Art Museum was founded in December 1998 with the approval of State Administration of Cultural Heritage of China and Beijing Cultural Relics Bureau and opened to public in December 1999. It is the first museum operated by a state-owned enterprise in the Chinese mainland. The aim of the museum is to develop and display traditional national culture and art, and to rescue and protect Chinese cultural relics lost abroad.” http://www.polypm.com.cn/english/bwge.php

NOTES, CHAPTER 5

Wong, p. 115.

Thiriez, Régine. Barbarian Lenses: Western Photographers of the Qianlong Emperor’s European Palaces. Amsterdam: Gordon and Breach, 1998.

On Piry, see Thiriez, pp. 93-101.