A Connective History of Qing Art: Visuality, Images and Imaginaries


[Papers are only available for participants]

Handicraft and Statecraft: Tang Ying’s Album of Imperial Porcelain Manufacture
Chen Kaijun
A Phenomenology of the Technical Mind
Lisa Claypool
Finger Painting as Contemporary Art at the Qing Court
Cura, Nixi
Why realism at the end of the Qing? Socio-political reforms, visual choices and new ways of seeing
Francesca Dal Lago
Cultural Commerce between China and France in the 18th Century: The “40 Views of the Yuanming Yuan” in the Collections of Henri-Léonard Bertin
John Finlay
Canonization of Qing Art in the Early Twentieth Century
Guo Hui
Illustrating Perception and Deception: Nian Xiyao and The Study of Vision
Kristina Kleutghen
Gods at Leisure: Myth, History and Intimacy in Su Renshan's Buddhist Art
Yeewan Koon
Priming the World: Appropriating Renaissance Images and Knowledge in Album of Beasts at the Qianlong Court
Lai Yu-chih
Landscape for Biography and Diplomacy: Zou Yigui’s Art Before the Court, 1722-1742
Liu Lihong
Three Friends, a Crane, and a Constellation: The Cult of Su Shi in Eighteenth-century China
Michele Matteini
Writing Liminality: Yue Jiazao’s Chinese Architectural History
Cole Roskam
Beijing as Imperial Theater: A Global Perspective on the Images of Qianlong’s Eightieth Birthday Celebration
Wang Cheng-hua
Rethinking Early Qing Court Painting: Some First Steps into Wang Yuanqi’s Topographic Landscapes
Stephen Whiteman
Big Names and Little Games: Shanghai’s Dianshizhai Publisher, Artist Prints and Their Audiences
Roberta Wue