Chine

CHINA JESUITS Grimaldi, Claudio Filippo Chinese name, Min Ming'o [閔明我] (1638-1712)Biblio.com

Breve relatione della vita e morte del P. Ludovico Buglio Missionario della Cina scritta dal Padre Filippo Grimaldi nella Corte Imperiale di Pekin. Alli 4 ottobre 1682

1683réf. 5517Rome: ca 1683. Hardcover. Fine. Bound in modern marbled papered boards with leather title label in gilt to the upper board. 17th c. manuscript in ink in a fine secretarial hand on laid paper with watermark of an anchor within circle. Fine condition leading edge untrimmed. A little light spotting on the first leaf very slim portion of leading edge of fourth leaf a little ragged and dust soiled. A report on the life death and funeral of the Sicilian Jesuit Ludovico Buglio 1606-1682 called Li Leisi Chinese: åˆ©é¡žæ€ a distinguished missionary and scientist at the Chinese imperial court in Peking during the late Ming and early Qing dynasties. It was written by Buglio's fellow Jesuit and friend Filippo Grimaldi Chinese: Min Ming'o 1638-1712 who arrived in China in 1671. Grimaldi was present at his confrère's funeral where he tells us that he partook of Manchu tea and wine offered to the mourners. This account which contains information not reported elsewhere remained in manuscript until the 20th century. In addition to our manuscript three other copies are known one of them in the Jesuit archives Rome: Fondo Gesuitico A.R.S.I. Archivum Romanum Societatis Iesu 722/4; another in the Vatican: A.S.V. Archivio Segreto Vaticano Miscellanei dei Gesuiti arm. VIII 58 ff. 16r-21v; and the third in the State Archives Rome: Archivio di Stato Roma Gesuiti Miscell. Pacco 5. Ludovico Buglio labored in China for forty-seven politically turbulent years. He established the first mission in Szechwan Sichuan Province where he carried out intensive evangelization despite opposition from local Buddhist and Daoist clergy built churches at Baoning Chongqing and Peking served as astronomer for the rebel Zhang Xianzhong who raised Buglio to the rank of mandarin and was instrumental in restoring the Imperial Observatory at Peking to Jesuit control. Buglio was imprisoned twice exiled once and narrowly escaped execution. An arrow wound inflicted by a Manchu warrior in 1647 never fully healed leaving Buglio in intense pain for the rest of his life. The wound ultimately proved fatal. In a letter transcribed in this manuscript addressed to Buglio's fellow Jesuits in Peking the Kangxi Emperor lamented Buglio's prolonged suffering and imminent death and announced that he would assist with the funeral expenses. The Emperor's letter is followed by Grimaldi's eyewitness account of the funeral which was overseen by imperial delegates who also participated in the traditional Chinese funeral honors. Renowned for his mastery of spoken and written Chinese Buglio wrote and published a large number of Chinese-language works a list of which is appended to this manuscript. Among the most important of these were "Yulan Xifang Yaoji" "Imperially Commissioned Essentials of the West" presented to the Kangxi Emperor around May 1669 and a translation of Aquinas' "Summa Theologica" titled "Chaoxing xueyao" "Compendium of the Science of the Supernatural". The author and his account: Grimaldi "was one of the most capable and courageous missionaries; he arrived in China during a time of persecution when with the exception of four Fathers remaining in Beijing the other missionaries had been rounded up and held prisoner in Canton twenty-five in total: fourteen Jesuits ten Dominicans and one Franciscan. Upon arriving in Macau the young Fr. Grimaldi secretly made his way into Canton in December 1669 to take the place of a missionary-Fr. Navarrete the Dominican superior-who had escaped from prison; his absence had it been discovered could have seriously jeopardized all the prisoners. In 1671 when the missionaries in Canton were released Fr. Grimaldi was summoned to Beijing to assist Fr. Verbiest and gave science lessons to Emperor Kangxi himself. In 1685 the Emperor sent him to Russia to negotiate with the Tsar regarding the passage of Chinese merchants and European missionaries through Russian territory; however he was unable to achieve this objective and after an absence of seven years he returned to Beijing where he died in 1712."Barbera Grimaldi was well-positioned to write this account of Buglio's life. He labored alongside Buglio for twelve years and it can be assumed that those things that Grimaldi did not witness personally were communicated to him by Buglio himself and other Jesuits chief among them Buglio's close companion Gabriel Magalhães who was with Buglio from the time of his work in Sichuan province through his time in Peking. This accounts for the level of detail that Grimaldi is able to present in his account such as in the story of the providential removal of the arrow that had become lodged in Buglio's body after he and Magalhães were mistaken for spies and shot by Manchu soldiers: "a piece of arrow so tenaciously lodged in his body that Father Magalhães was never able to draw it out either with his hands or with his teeth. Magalhães though he was gravely wounded in one arm strove to find in the wilderness something with which to draw the arrow out; and behold before his eyes there appeared a pair of pincers which seemed to have been brought by his guardian angel for that very need alone with which full of joy and wonder he gave thanks to divine providence and freed Father Buglio from that affliction." The Emperor's letter & Buglio's Funeral: While Buglio lay on his deathbed the Emperor having heard about Buglio's illness through Zhao Chang a member of the Imperial Bodyguard sent a letter to the Jesuits which Grimaldi gives in full. In appreciation for Buglio's years of service to his father and himself his dedication to Chinese language and culture and "because you are men from beyond the sea and Father Ludovico now lies dying in this city far from his own country without kinsfolk to assist him" the Emperor informs the Jesuits that he will arrange and pay for Buglio's funeral. With the letter comes a gift of "two hundred Foè that is two hundred gold scudi and ten pieces of silk as a token of the regard I have held for the father and of how greatly his loss grieves me." The funeral rites included an impressive procession: "The Emperor in every way wished the funeral conducted according to his own affection and not according to the modesty proper to our institute. Twenty soldiers were sent by the Emperor to clear the streets as far as the burial place. At the head of the procession walked a standard raised aloft on which was written in large characters the Father's name together with the many praises and honors the Emperor bestowed on him and a copy of the Emperor's own letter in praise of the deceased on yellow satin silk a color reserved to His Majesty alone. There followed Father Buglio's image above which were written two very large characters signifying that this imperial decree had been issued in memory of the great esteem in which the deceased had been held. In the place of highest honor was set the Holy Cross with the images of St. Michael and Our Lady amid many censers and incense and choirs of diverse musical instruments." "Then followed more than five hundred Christians clothed in mourning and finally gentlemen without number preceded by the court officials sent by the Emperor for this purpose. This whole procession having at last arrived at the place granted us by the late Emperor for the burial of the fathers the funeral was carried out - with great modesty on the part of the Christians and equal reverence on the part of the gentiles." Grimaldi closes his account explaining that while he would like to write more the letter courier is about to leave for Macau and so he must stop where he is. The list of Buglio's Chinese Works: Grimaldi applauds Buglio's remarkable success in mastering Chinese which allowed him to forge close relationships with the Chinese literati and the mandarins. "He accomplished much by writing.understanding very well how highly letters are prized in China and how gentle and how powerful a means the spreading of books is for instilling the holy law of Christ. From the very beginning of his arrival in China he lost no time in advancing himself in Chinese letters language and books and to this end he had all the walls of his room covered with Chinese characters." The manuscript closes with a list of 23 of Buglio's Chinese works including the aforementioned "Yulan Xifang Yaoji" and "Chaoxing xueyao" as well as translations of the Roman Missal 1670 Breviary 1674 and Ritual 1675. Other works some on scientific matters addressed to the Emperor include "Shizi shuo" "Discourse on Lions" 1678 written when the Portuguese gave the emperor an African lion based largely on Ulisse Aldrovandi's "Book of quadrupeds" Bologna 1645 and "Jincheng ying shuo" "Discourse on Falcons offered to the emperor" 1679 written at the emperor's request after he admired the illustrations in Aldrovandi's "Ornithology". This work was later excerpted with attribution into the imperial encyclopedia "Gujin tushu jicheng" 1728. See Lo Nardo P. Ludovico Buglio S.J. 1606-1682 in Intorcettiana Anno II - N. 3 gennaio-giugno 2020; Pfister Notices biographiques et bibliographiques sue les Jésuites de l'ancienne mission de Chine 1552-1773 tome I Chang-Hai 1932 pp. 372-376. ca hardcover

Liber Antiquus · États-Unis24 000,00 $US≈ 21 441,98 €

[China; Doheny collection]Biblio.com

Chinese Pith Paintings collection of 69 images from the Library of Edward Laurence & Carrie Estelle Doheny

1870réf. 27200China 1870. Fine. A splendid series of pith paintings from the Doheny collection. The watercolor and gouache paintings are splendidly preserved displayed and housed. The bookplates of Carrie Estelle Doheny and Edward Laurence Doheny are mounted on acid free board which sits atop the images and the totality fits snugly into the box. The images are in the traditional format in this case illustrating nine subjects - Royal Procession 6 images; Birds 11 images; Ships & Barges 5 ; Tea Cultivation 7; Punishments 11; Butterflies & Flowers 2 ; Butterflies & Insects 8; Court life 5; Flowers Camellias etc. 9. Each is protected in an archival paper sleeve 13 x 8.25 inches and numbered in pencil on the wrapper. Images 33 x 21 cm. The stability of these images is greatly enhanced by their conservation. Each pith image has been backed on acid free tissue supporting the pith which is quite fragile. The vast majority of the images are complete and undamaged. A minority have small marginal cracks or small corners missing. A couple have slight browning. Each image is preserved in a numbered acid-free folder and the whole is housed in a custom brown and black leather solander box numbered XI on the front board. Pith paintings are notoriously fragile. Crossman states "The other paper commonly used for watercolors and gouaches after 1800 was pith. The pith paper is a very fragile medium to work on and many of those watercolors which have survived are cracked and broken. Crossman "The China Trade" pp 95-97. A splendid collection. unknown

Antipodean Books, Maps & Prints · États-Unis25 000,00 $US≈ 22 335,40 €

[CHINA - WATERCOLOUR].Biblio.com

17 Chinese watercolours made for the export market.

1800réf. J76F1EWPWNYUChina 1800. In a modern gold-tooled dark green morocco clam shell box in contemporary style. Collection of 17 Chinese watercolours on Asian paper with chain lines including 3 of birds seated on a branch 3 of ensembles of fruit and flowers and 5 of fishes all ca. 30 x 37 .5 cm; 2 further watercolours each showing 2 branches of flowers and trees in a drawn oval border ca. 39 x 30 cm; and 4 watercolours of Chinese people posing with objects ca. 25 x 21 cm. Thirteen detailed Chinese watercolours of birds fruits flowers plants and fishes together with four portraits of Chinese people posing with a pipe lute flower and a handheld fan. The drawings in this album show the mixture of the Chinese and European styles that was popular in the market for export paintings in the first half of the 19th century: a combination of the Chinese approach to rendering with European aesthetics concerning light shadow and realism. As traditional in these paintings large areas of flat colour have been subtly shaded with very thin lines to draw the veins of the leaves fins of the fish and feathers of the birds. The production of these export paintings began earnestly in the 1820s and reached its height in the 1830s and 1840s especially after China's defeat in the First Opium War 1839-1842 opened the country to foreign trade. Photography was introduced in China in the 1840s and the market for export paintings declined after 1860.By the end of the 18th century Chinese painters in Hong Kong and Canton started producing paintings and drawings for European buyers. Although they were made for artistic and decorative purposes many European naturalists began collecting drawings to study Chinese plants and species. Most of the plants and animals would simply not survive the journey to Europe whereas dried specimens did not preserve the colour or shape of the flower. Most of the export paintings were ensembles of flowers and animals placed on a background. Imagination was more important than copying nature and the realistically painted flowers could have different colours or even be a composition of elements from different species. For that reason serious naturalists commissioned Chinese artists to paint according to the standards of European scientific illustration. With a few tiny spots and minor smudges but otherwise in very good condition. unknown

Asher Rare Books · Pays-Bas25 000,00 €

[Photography] Album: China and adjacent countriesBiblio.com

Photos of China Thailand and Myanmar.

réf. 78954China Thailand Myanmar ca. 1888. Oblong folio 32.1 x 40.1 cm. 86 stiff cardboard leaves each with a large original photo mounted. Average photo size about 21.5 x 27.0 cmMost photos oblong landscapes three are very wide panoramas. Contemporary full morocco binding. Spine with four raised gilt-rolled floral bands; compartments with gilt floral vignettes. Boards gilt-bordered with bevelled edges. Marbled endpapers. All edges gilt. = A fine unique collection of original good-sized photographs chiefly of China and in particular Hong Kong and of several adjacent countries notably Myanmar and Thailand. Included are photos of Peking Shanghai Canton and Hong Kong made by several of the leading commercial photographers of the period. Captions are in a contemporary hand written in Dutch. Five plates show street scenes in Peking Beijing including rare subjects such as Legation Street entrance gates to the city and the Imperial Observatory; five plates show Ming dynasty tombs situated near Beijing and now a World Heritage site; three show northern China including the Great Wall; 12 show Shanghai multiple of the Bund including the Jardine Matheson bank and e.g. Foochow Road a wedding procession the French Settlement with policemen and Chinese prisoners. Hong Kong is represented by no fewer than 24 photos including two extremely wide panoramas one showing the harbour from a hilltop 22.5 x 110 cm and the harbour waterfront 20.5 x 83 cm. Other pictures include parades of Indian servicemen and Highlanders. Also included: a view of the Peak Hotel and of the funicular railway both of which started operating in 1888 and look brand new. Also a view of Queens Road views taken from the Peak views focused on the commercial harbour frontage with e.g. Hong Kong and Shanghai Bank and Aberdeen village. Five photos show Canton Guangzhou including a foreign settlement and a pagoda. Four photos show Macao; five depict the West River Xi including an unusual rare if not unique very wide panorama of the river bank at Wuzhou a town situated in a strategically important location at the confluence of the Guijiang and Xunjiang rivers which form the voluminous Xijiang River here named the West River. This made it the natural "water gateway" connecting the southwestern regions of China with the Pearl River Delta the low-lying area where the Pearl River flows into the South China Sea. The Pearl River Delta Metropolitan Region "referred to as the Guangdong-Hong Kong-Macao Greater Bay Area in official documents the region is one of the most densely populated and urbanized regions in the world and is considered a megacity by numerous scholars. It is currently the wealthiest region in Southern China and one of the wealthiest regions in China" Wikipedia. The Xi River photos are smaller one just 10.0 x 14.0 cm but the others still about 14.5 x 19.0 cm or more. Outside China the following places are represented: Bangkok six photos including important temple sites a collection of elephant tusks a scene of elephants fighting two portraits of a Royal Princess - and a superb full-length portrait of King Chulalongkorn Rama V. Rangoon is represented with nine photos including studies of the imposing Shwe Dagon Buddhist site. Very light wear to spine ends and board edges; an old inobtrusive repair to one panorama; a few photos mildly faded but most photos in excellent condition. hardcover

Antiquariaat Schierenberg · Pays-Bas25 000,00 €

AMERICAN ARMY IN CIVIL WAR CHINA, A PHOTOGRAPHIC ALBUMBiblio.com

AMERICAN ARMY IN CHINA: Tientsin Peking Shanghai Hankow Hong Kong And Others

réf. 25054401China n.d. ca. 1927-1928. Brown simulated alligator cloth covers 37 x 27.5 cm. black pages spine ribbon-tied ca. 400 b.w. photos corner mounted images very good sharp and clear images NOT fadedsolidnicely done. V E R Y R A R E ! . . SUPERB PHOTO ALBUM OF THE CHINESE CIVIL WAR: . . Beginning of The Communist Party led led by Mao Tse-tung . . V.S. the Kuomintang KMT or Chinese Nationalist Party . Led by Chiang Kai Shek. . The United States Supported the KMT. In this album we see how the KMT soldiers hosted the American Army in China using their trains and military bases throughout China. This unusual album contains 400 original b. w. photographs & and is an historic photographic record of American military deployment showing Dough-boys in China probably from the U.S. Army's 2nd. Battalion 15th. infantry per the flag and insignia found on a group formation photograph. A minority are with written captions by and large taken by the person who made the album also enhanced with a small percent of professional Chinese photos some of which have in-negative captions. There are ca. 3 or so photos missing else completely filling 32 pages or 64 sides one on the inside back cover. The inside of the front cover has five attractive period color luggage type adverts from various hotels: Hotel Lankershim & Coast Line Military & Naval Hotel San Francisco Cal; The Court Hotel Tientsin North China; Grand Hotel des Wagons Litz; Astor House Hotel Ltd. Tientsin. The album begins with photos of a Chinese playing a Pi-pa snake skin banjo then there are three other photos: first two show a Chinese military camouflage train engine from which a Yank soldier in his campaign hat descends and a long train of cars with a large howitzer mounted upon one last shows French troops at parade rest with their rifles and white gloves and crested helmets with anchors naval or marines with others in the background with some officers. The next two pages show Chinese coolies swing a basket from the creek top water a field a mother suckling her baby with her family at the farm a large water tower in the wet slums and a group of Doughboys at attention in formation they wear boots leggings chrome World War I type dress helmets a rifle back pack with bayonet cartridge pouch belts with green wool hip-length jackets. The opposite page shows another view of the Chinese military train a pair of large mounted guns on an armored train car. To the right is a Chinese officer pointing to a large pierced hole in the train with a foreign engineer peering out from the small window. The train sports the Republic of China flag with a Chinese military unit flag painted on the side. Another view shows a group of abandoned Chinese coffins that went to the dogs; a group of soldiers in garrison caps at attention with fixed bayonets as the officers salute someone near the person taking the photo some Chinese officers also present. Next 2 pages show Chinese on a wheel barrow some Japanese women by a pond in Kimono and a group of British troops from their colonial Empire: blacks Indians white trumpeter Chinese and others with musical instruments all wear white cork-type pith helmets. A group of Japanese officers mugging for the camera. Photos of the railhead and large number of Chinese troops with rifles and kit at the railway station some on march carrying their flags others in open box cars with touring cars that are on the move another of camouflaged armored train cars one shows a number of foreign soldiers looking out of a train car window some are with tiny embossed stamp at right corner: "Mei Lee Tien Tsin." The album continues with a mixture of images of civilian Chinese Chinese military their trains moving air planes weapons war refugees in tents military views of barbed wire fortifications trenches machine gunners Russian soldiers Chinese officers Chinese air force funerals rickshaw pullers camel trains captured & wounded prisoners foreign soldiers at their sand-bagged posts. Photos of the great wall magnificent Chinese architectural monuments buildings and pagodas religious icons coffins more coffins mortars & Chinese junks and a plethora of others. The American Consulate General's compound in Tientsin American military band welcoming the newly arrived replacement troops. A large photo group shot of the American officers seated for a memorial photograph with their Battalion flag proudly posted on the wall where they pose source of our citation at the top of the unit name; two buglers are at each outside position the commander is ram-rod straight and taller than all others seated in the front & center; he and only two others on his sides wear full leather knee boots probably indicating the highest ranking officers; others are in boots & leggings. Photos of Doughboys aboard a ship showing the Naval officers with one stunning photo of an American high officer with his Japanese & Chinese counter parts posing for the camera. And a photo of the "Mail Boat Gazun Panama" and a few others of Panama giving credence to the fact that some of these soldiers came from the American East coast via Panama to San Francisco then on to China. Nice photo of semi-nude Panamanian family men women children. Doughboys at target practice photos of Chinese poverty coolies pulling great loads and street vendors. More showing Chinese life style street life horse & bullock carts and yet more caskets left in the open unburied and abandoned train cars full of horses Chinese troops smoke rising from a burning city another with "Tian jin" written in Chinese catholic church more parading of American soldiers within the Tientsin American Consulate parade grounds trooping of the colors. And a nice photo of the "U.S. Army Transport Thomas" Chinese junk &c. A U.S. soldier in a necktie his rifle at fixed bayonet at parade-rest before the Consulate General compound with sand bags inside a photo of a U.S. soldier with his Colt-45 on his hip with canteen looking at some communications connections another photo of two mini U.S. tanks and a very long bridge over the water. Photo of the Tientsin downtown with a Sikh Indian policeman directing traffic. Next page shows a public Chinese street execution: the guilty on his knees with the executioner ready to swing a very large sword and another headless corpse is before him the Tientsin YMCA compound opposite which is likely the inside of the American Consulate offices showing very ancient typewriters and three women staff and one other female Navy person. They all mug for the camera with a good number of U.S. Army or Marine officers behind three desks. Chinese hauling "magnum gold" brand ammunition on hand- trucks a U.S. Army band performing before the Consulate's office. At this point we find a few photos with penned captions: "One of China's Department Stores it shows a bird vendor; Peanut Gambler a mountain of P-nuts; Chinese Shimboo photo of the office and maker of the album and his Chinese officer friend ; "A Chinese Taxi" shows him in a Rickshaw "Me and the boy friend 11/3/28" shows a tiny goat cart carrying a child's coffin with a Chinese man. This penned date gives substantial proof of the date range of the entire album which was placed about the center of the whole work. The next page shows two more penned captions: "Chinese cavalry" and "Note mud house and fence" shows two Chinese officers on horse-back and a very very poor house with very starved animals. The next shows six Chinese undercover men two each holding a Chinese being readied for execution; and a very grizzly photo of a Chinese officer actually executing a Chinese man with his pistol who is seated on a rock: the photo captures the action as the shot blows away the mans brains. Behind the execution scene is a crowd of American soldiers in campaign hats and Chinese military officers who are witness to the event. More views of Chinese street life vendors pullers haulers & horse carts religious icons and a stunning Chinese roofed gate more Chinese troops on the move via train with a very horrible view of a large number of dead Chinese in the muddy filthy waters by a bridge. Homeless Chinese at a "soup kitchen" war refugees hauling their belongings house boat street barbers a group of 7 photos by the ocean. They show American soldiers at leisure looking at Chinese fishermen nets naked fishermen hauling in a net of fish to the beach a burning waterfront village the jetty where several large American transport ships are at anchor and a great assembly of Yankee soldiers on the beach with duffel bags and their gear at the railhead. The last photo shows a great number of various whisky bottles lined up for display. More photos show a coffin maker large coffin basket seller and "chow" sellers on the street. A military formation of 100's of either Scottish or Irish soldiers with fixed bayonets marching down the main street before the "RNC Electricity Dept." below which is a very long line of British soldiers on one side of the street opposite from a good number of American soldiers who are on the side of the street a British Union Jack flies over a castle-like structure this is clearly some kind of grand military parade. More photos of the Great Wall the military parade and army chaplains with an Australia flag flying over another castle tower. Chinese river scene with large numbers of native boats in a canal a beggar's camp with straw -mat tents a canal crossing ferry for people a photo of a U.S. officer stand on top a wooden coffin for a closer look. More poverty-stricken Chinese haulers fortune tellers graves tethered horses log sawyers rice haulers electric trolley with English and Chinese language sign on the roof panorama post card of Shanghai's Bund. The album now shifts to photos of the Peking area. Shows the Ming tombs and the camel-lined road; military train the Americans were transported by that train a large bivouac and tent city where the U. S. military troops camped some Chinese "house boys" proudly holding the American troop's unit flag. More photos of two U.S. soldiers posing near Chinese coffins in a wet ditch. A group of very young Chinese boys posed near the railroad; one is so poor that he has no clothes at all and is in nude. A large group of Nationalist Chinese soldiers marching along a street one classic photo of a single American soldier on guard standing at attention as stands vigil on a barbed-wire barrier his rifle at fixed bayonet. A group of five Chinese young "ladies" who pose for the camera who seemed NOT to be bewildered by the photographer they look like "Sing-song girls" hookers who entertained the U.S. troops. Chinese Buddhist priests in white robes with shaved heads a great gate to Peking Shanghai harbor views shanty huts captured Chinese criminal or traitor guarded by Chinese soldiers train car full of rifles more Chinese soldiers on trains marching in formation on the road. And a good photo of several American officers: one with a whip posing for the camera in garrison hat. Chinese bivouac and American soldiers with bullet and pouches for ammo with rifles at parade rest. More barbed-wire barricades Chinese & British soldiers armored train-mounted gun. More Chinese prisoners traitors being executed heads hoisted on power poles in baskets as a form of public warning and display for other would-be traitors. An American tent bivouac camp at the train yard two more public exec executions by beheading at the moment of loosing one's head an executed dead man lying in the street. Photos of Peking's Forbidden City a Chinese hung to death from a tree a Yank soldier in overalls carries a Chinese bamboo "yoke" with two baskets and smokes a pipe while Chinese look on and laugh. Two photos of lines of Rickshaws waiting for passengers. One comic photo with negative caption: "Find the Chinaman;" it shows two American soldiers sitting among Chinese. Nice shot of the Summer Palace Peking and a U.S. soldier riding in a Rickshaw. The very last photo inside the back cover shows the whole battalion dressed up wearing their chrome helmets standing at attention in formation for a classic and most historic memorial photograph. Their commanding officer is front and center; all have their rifles ammo belts and very polished boots with back packs. They could be standing in the Tientsin American Consulate compound grounds. Followed by a few other photos of Chinese a Chinese soldier et al. This work shows the typical things seen in China during this period of political and military chaos. The feuding war lords and political parties at war; the landing of American military to protect American diplomatic interests. Support & assistance given to the Americans and other foreign military groups by the Nationalist Chinese army. The desperate situation of the tragic Chinese people caught in the grips of upheaval and the summary punishment of traitors in a public display of the swift and ruthless law of China. A riveting and most compelling true record of a U.S. military officer's sojourn to and deployment in China. THE PHOTOGRAPHER AND THE SIZE OF PHOTOGRAPHS: This is not a professional group of photographs but there a very small amount which were obviously purchased by the maker of the album and inserted. The vast majority are his personal photographs these again are obvious to anyone who looks at the album. This is an excellent example of private work of an unknown American Army officer stationed in China during a very chaotic period. He was interested in recording for posterity his experiences and the sights that he saw while on duty. We thank him for giving us privy to this slice of American and Chinese military history. SIZE OF THE PHOTOGRAPHS: The size varies considerably sizes in cm.: the smallest are 8 x 5 most are 14 x 9 3 larger photos 24.5 x 18 and the last 30 x 10. CONDITION OF THE PHOTOGRAPHS: These are original period photos they are all very clear sharp images no fading and in excellent condition. They have been corner mounted. RARITY: Photographic albums of this period in China are NOT commonly found; one made by an American Army officer stationed in China at this time is exceptionally unusual and RARE ! This is a charming primary source with a large number of clean & sharp images taken by an actual participant in this historic period of China. The officer and photographer of these photographs shared for posterity his keen insight and view of these events. We thank him for giving us privy to this slice of American & Chinese military history. . unknown

Rare Oriental Book Company, ABAA, ILAB - AN ART AND INTELLECTUAL PROPERTY COMPANY · États-Unis28 166,00 $US≈ 25 163,96 €

[CHINA; SUNQUA (studio of)].Biblio.com

Album of Chinese Export Pith Paper Paintings Depicting the Manufacture of Tea.

réf. 100987Canton circa 1830-1870. . 4to album 33 x 26 cm; 24 bodycolours on pith paper each 30.5 x 20.4 cm all mounted on paper and framed with a pale blue silk fabric border bookplate 3 plates with small marginal tears; bound in contemporary patterned decorated silk boards a touch rubbed but overall bright and attractive. An excellent example of a rare Chinese album of paintings revealing the tea production process in detail. Attributed to the studio or circle of Sunqua fl.18301870 the present album contains fine examples of pith paper paintings produced in China most often Canton for export to the Western market. The technique of bodycolour on pith produces a semi-translucent effect unattainable using Western methods and entranced the Western world in the nineteenth century. The subjects of these 'trade' albums were chosen to appeal to Europeans evoking a sense of the 'Orient' to those that had not travelled to China meaning often the paintings were of Chinese flora and fauna or costumes. The subject of tea production as here was less common but perhaps more effectively evoked the connection between China and the West as the viewer sees the full process of the creation of a product which they would have had in their tea cups at home complete with the painting and shipping of the crates which arrived in European ports. Canton as the only Chinese port permitted to trade with the West from 1757-1842 became the centre of pith painting in the 1830s and 40s. Studios such as that of Sunqua flourished with a combination of artistic skill and efficient production that allowed them to meet the demand from the Western market. Sunqua himself was labelled the 'Chinese Hogarth' by Charles Toogood Downing in his work The Fan-qui in China for his impressive artistic skill in both oil and bodycolour. The trade suffered during the First Opium War 1839-41 when a number of the studios in Canton harbour were burned and then a fire in 1856 destroyed most of what was left. The impact of the pith paper painting trade was impressive considering it thrived in such a relatively small time period and the continued presence of the paintings in European institutions testifies to their enduring appeal both visually and historically. There are collections of paintings on pith in the Ashmolean the British Museum the Fitzwilliam the Hermitage the Library of Congress the Peabody/Essex Museum in Massachusetts and the Hong Kong Museum of Art. [Canton, circa 1830-1870]. hardcover

Shapero Rare Books · Royaume-Uni25 000,00 £GB≈ 29 858,60 €

Editing Committee for Small Bulletins in Modern ChinaBiblio.com

5th volume 120 volumes in total

2016réf. 2081502111903976Gaku en 2016. Soft Cover. Fine. The book is in fine condition. Gaku en paperback

Potato Head Bookshop · Singapour34 375,00 $US≈ 30 711,18 €

Shanghai Jiao Tong University Tokyo Trial Research Center, China Second Calendar History ArchivesBiblio.com

Compilation of Documents of Trials for War Criminals against Japan in China

réf. 2081502111902635Shanghai Jiao Tong University Publishing House N.A. Soft Cover. Fine. The book is in fine condition. Shanghai Jiao Tong University Publishing House paperback

Potato Head Bookshop · Singapour34 375,00 $US≈ 30 711,18 €

ADVERTISING IN CHINABiblio.com

Archive of promotional posters flyers and other visual material from the Republic of China and People's Republic of China.

1920réf. 175010China: c. 1920s - 1980s. A golden age of advertising An expansive collection showcasing the evolution and adaptation of visual marketing in China between the 1920s and 1980s including the creation of the "modern girl" image the sinicization of western aesthetics and the survival of Republican-era imagery in communist contexts. Commercial messages are conveyed in a variety of formats including calendars wrappers and packets posters flyers and brochures while others are clipped from magazines. The products advertised include consumer goods such as cigarettes Hatamen Qianmen Golden Road medicines Hong Ren Dan and fireworks Yick Loong as well as agricultural products and fertilizers BM & Co. pencils alarm clocks and fountain pens. Many are rich in colour and call on cultural tropes and touchpoints including elements of traditional culture. The collection represents the high standard of printing executed in Shanghai and other commercial centres especially in the interwar period. Many examples in this collection are targeted towards female consumers. Chinese and foreign advertising agencies quickly recognized that urban women emerging as a wealthy and more independent social group in the early 20th century were both a key market for example for cigarettes and an important marketing tool. From the 1950s onwards these urbane female figures give way to imagery emphasizing socialist and working-class credentials. Provenance: the collection was acquired by a private collector in Shanghai in the mid-1990s and has been in the US for the past three decades. It is offered here for the first time. Approximately 450 items in varying sizes up to 330 x 230 mm with a few duplicates the majority colour lithographs on paper. Predominantly in Chinese with occasional English and Russian. Generally in bright condition the odd tape repair some items with notations and mimeograph printing on verso where later repurposed: a very good collection of fragile material. unknown

Peter Harrington · Royaume-Uni37 500,00 £GB≈ 44 787,90 €

SHAOLIN SI [SHAO-LIN MONASTERY/TEMPLE, CHINA]Biblio.com

LI DAI SHAOLIN SHI GIA JEN WU SHI GI. HISTORICAL CHINA MAP. A MAGNIFICENT & LARG

réf. 92110001Edo 1750 Suharaya Mohei. Large folding map 170 x 200 cm. old mended worming rebackedpastel colors Japanese reprint of a map printed in Henan in 1679 folds down to be 21.5 x 25.5 cm. woodblock printed hand color. V E R Y R A R E ! . . AN EXCEPTIONALLY RARE WALL-SIZE MAP OF CHINA . . EXECTED BY A SHAOLIN ZEN MASTER The Shaolin Xi Monastery/Temple is a Chán Zen Buddhist temple at Song Shan near Zheng Zhou City Henan Province in Dengfeng China. It was led by Venerable abbot Shi Yongxìn. founded in the 5th century the monastery has been famous for centuries its association with Chinese martial arts and particularly with Shaolin Kung Fu. It is also a Mahayana Buddhist monastery perhaps best known to the Western world. . The Shaolin Monastery and its famed Pagoda Forest were inscribed as a UNESCO World Heritage Site in 2010 as part of the Historic Monuments of Dengfeng. Extracted from Wikipedia. . A RARE EDITION: Reprinted and published in Japan by Katsuragawa Hosan in 1750 reproduced from the Chinese original of Kangxi 27 1679. The original Chinese edition has been exceptionally obscure and impossible to come by for over the last two-hundred years and is believed now to be lost to posterity. . PRINTING TECHNIQUE AND THE PAPER: The work is woodblock printed by hand on hand-made Washi paper then hand-colored in delicate pastels. . CHINESE VIEW OF ANCIENT CHINA: This grand scale work covers a very large space and is quite handsome suitable for framing and display. The map shows a full view of all of China from the Great Wall in the North Shanghai the East coast down to the oceans in the South and Hainan Island and the coasts along he Eastern shores. This is a spectacular work showing each province in pastel colors with outlines large numbers of place names rivers & the major waterways mountains named and located. By and large inspired to show all of the known lands considered a part of China delineating the country and its exterior boundaries. . Japan and other islands are not shown but boxes with notes in Chinese as to their existence and location are well documented. The lower portion has text discussing the population of the various provinces and other notes. Areas beyond the traditional lines of China i.e.: North of the Great Wall and to . RARITY OF THE MAP AND ITS MAKERS: This grand-scale and truly spectacular work is virtually never found on the market. The Shaolin Monastery monks were the original founders of the celebrated and now famous Kung-fu martial art school located in Henan province. The priests were legendary and the most feared for their martial art prowess. They were also covert with their powerful political force in China. . SHAOLIN SI TEMPLE/MONASTERY LEGENDARY CUSTOMS: Priests who passed the highest level of Kung-fu martial art were invited to participate in a recognition ceremony. They were allowed to self-brand themselves by picking up a red-hot iron brazier that had long temple dragon decorations on the sides. The branding was accomplished by clamping the brazier between their forearms until the dragon image was branded on them. These brazier dragons are identical to the long dragon found at the top of this historic map. Another ancient practices used was the Jieba. It is an ancient ceremony where nine marks are burned onto the head with sticks of incense. In 2007 the Chinese government partially lifted the 300-year ban of the Jieba allowing the the mentally and physically prepared to participate in the ancient tradition. Incense or moxa was used on top of the shaved head and burned in a ceremony of dedication to the Shaolin Si temple/monastery by the most skilled of martial artists. WHY THE DRAGON SYMBOL WAS USED BY SHAOLIN MONKS: The top of the map show the dragon as a symbol of the Shaolin Si. In China the dragon is the first of twelve zodiac animals and is the most powerful of all and represents the ultimate and greatest of all powers known. It is also the one and only legendary animal in the zodiac the rest are actual animals. Because this map was conceived of carved and printed at the Shaolin Xi monastery or temple by these very priests they put the most powerful symbol at the top a dragon. The symbolic meaning indicated that China was superior to all other nations. It was also a private pun by the Shaolin priests indicating for all to see and know that the Shaolin temple and its priests were above all others. Additionally it reminded and indicated that the Shaolin priest were the most powerful martial artists and covert political force in all China. . RARITY: The original Chinese edition has been exceptionally obscure and impossible to come by for over the last two-hundred years and is believed now to be lost to posterity. Shaolin Si temple/monastery imprints are very R A R E ! Few references or examples exist of their woodblock printed works. This edition was a copy of the original re-carved by the Japanese and reissued. Not only is this map of great interest to Chan Zen Buddhists Shaolin Kung-fu collectors martial artists and historians but to students of Chinese cartography collectors and museums. . CONDITION: The map has been professionally re-backed in its distant past due to the large amount of old worming. It is now solid and stable. Because of the rarity of this work a complete map found in any condition would be now considered exceptionally R A R E ! Please review images posted to our website to observe the restored condition. . THE COVERS: The map has been rebound in non-original paper covers perhaps about 100 years ago. It is contained in a brown cloth Chuan Chitsu folding slipcase with ivory clasps cloth a bit faded one edge a bit worn else clean & solid. . THE SCANS: While we have made efforts to take good digital photographs and scans of our copy due to the exceptionally large size of the map these photos are not of the highest quality. We therefore are additionally using copies of this map from the Oda reference book illustrations as samples of what the map is like. Please note the following digital images are from Oda: cover.jpg illus08.jpg & illus12.jpg the balance are from our digital camera. . Any client who purchases this map may be interested in the Japanese text found in Oda. Upon request we are happy to provide a copy of his entry. . BIBLIOGRAPHY: G. Beans: A LIST OF JAPANESE MAPS OF THE TOKUGAWA ERA Supplement A on p.14 as #1750.1 with confirmation date of 1750. Beans gives this the title: "THE BEST COLLECTION OF ANCIENT AND MODERN WORKS CONCERNING THE HISTORICAL EVENTS THROUGHOUT THE DYNASTIES BY THE MONASTERY OF SHAO-LIN." T. Oda: THE WORLD IN JAPANESE MAPS UNTIL THE MID-19TH CENTURY p.52-53 item #24 for 2 excellent color examples. Oda shows the Japanese title: REKIDAI JISEKI ZU: HISTORICAL MAP OF CHINA reproduced from the Chinese original of 1679 by Katsuragawa Hosan 1750. Beautifully reproduced here in full color. Meir Shahar: The Xiaolin Monastery: History Religion and the Chinese Martial Arts. Wikipedia: cans of this and most items are posted to our web site. unknown

Rare Oriental Book Company, ABAA, ILAB - AN ART AND INTELLECTUAL PROPERTY COMPANY · États-Unis64 663,00 $US≈ 57 770,96 €

QIANLONG; Qianlong, Emperor of China (1710-1798)Biblio.com

Four Hand-Coloured Copper-plate Etchings from the Conquest of China.

1775réf. 1691811775. QIANLONG EMPEROR OF CHINA 1736-1796. Suite of four engravings depicting the conquests of the Qianlong Emperor. From the suite of sixteen engraved plates. Printed in Paris under the direction of Charles-Nicholas Cochin. Broadsheets image size: 515 x 890 mm. Preserved in the contemporary French green paper mounts with black ink outline borders. Professionally framed. With the original French printed labels describing the individual engravings affixed to back of frames. Paris 1769-1774. These four contemporary hand-coloured engravings represent individual scenes from the exceedingly rare series of sixteen engravings commissioned by the Qianlong Emperor to commemorate the victory of his 1755-1760 military campaigns against the Western Mongols. The four plates are: I. "General Fou Te Accepts the Surrender of the Ili" showing the triumphal march of the Emperor and his general to Beijing. Drawn by Sichelbart and engraved by B.L. Prévost in 1769 Pirazzoli-t'Serstevens 1; II. "The victory of Khorgos." in the Spring of 1758 against the forces of Amoursana. Drawn by J. D Attiret cut by C. N. Cochin and engraved by J. Ph. Le Bas in 1774. Pirazzoli-t'Serstevens 4; III. "The great victory of the Qurman." on February 3 1759 when the Chinese general Fou-te with only 600 soldiers defeated an army of 5000 Muslims. Drawn by Damasceno and engraved by A. de St. Aubin in 1770. Pirazzoli-t'Serstevens 8. IV. "The Emperor Gives a Victory Banquet to the Officers and Soldiers who have distinguished themselves in battle" at Tseu-kuang-ko the Imperial Palace Gardens Beijing on July 5 1754. Drawn by Castiglione and engraved by J. Ph. le Bas 1770 Pirazzoli-t'Serstevens 16. These large Chinese-French prints are among the most impressive works ever produced by the method of copper engraving. This is the first series of engraved plates to document the conquests of the Qianlong Emperor. They represented an amalgam of Chinese imagery Italian interpretation and Parisian copperplate engraving at its apogee. The drawings were supplied by Jesuit artists attached to the Emperor's court in Beijing. Upon completion they were shipped to France for engraving as the craft was unknown in China. After the Emperor was shown battle prints by the Augsburg artist Georg Philipp Rugendas 1666-1743 he wished to see his military conquests recorded in intaglio prints as well. He therefore ordered his Jesuit court painters Giuseppe Castiglione 1688-1766 called "Lang Shining" Jean Denis Attiret 1702-1768 "Wang Zhicheng" Ignaz Sichelbart 1708-1780 "Ai Qimeng" and Giovanni Damasceno Sallusti i.e. Joannes Damascenus a SS. Concepcione d. 1781 later bishop of Beijing called "An Deyi" to prepare sketches for the prints which they did in 1764 and 1765. Four of the drawings had been completed by the time of Castiglione's death when the decision was made to send the work to France via the ships of the Compagnie des Indes. According to the Emperor's decree no expense was to be spared. The first four drawings reached Paris in the autumn of 1766 and the remaining twelve in July 1767. The Marquis de Marigny director of the Academie Royale de Peinture et Sculpture decreed that the work should be carried out under the supervision of Charles-Nicholas Cochin 'fils' 1715-1790. As the French paper manufacturers did not have paper of the desired proportions the paper-merchant Prudhomme was ordered to make it to custom; the new size was called Grand Louvois. The copperplates were imported from England. Cochin chose Beauvais for the actual printing of the sheets on the grounds that he was "the only one who can be completely trusted both regarding his talents as well as his honesty which is well-known." The work proceeded slowly; standards of the highest quality were called for and some of the pictures especially the one by Sallusti needed careful editing. The original order was for 100 copies of each print but by 1768 this figure was increased to 200 copies so that at least 100 would survive the journey back to China ! -- however several authorities claim that many copies were lost at sea. In any event the final delivery was not shipped until 1775 occasioned in part by the difficulty the printers had producing a uniform series of prints from drawings by different artists. Three of the initial drawings were made by Attiret six by Damasceno one by Sichelbart and at least two by Castiglione; the remaining are unsigned but have been attributed to Castiglione by C. & M. Beurdeley and others. The engravers were L.J. Masquelier 1 J. Aliamet 2 J. Ph. Le Bas 5 A. St.-Aubin 2 F.D. Née 1 B.L. Prevost 2 P.P. Choffard 2 and N. de Launay 1. The Emperor's instructions stated that all the impressions were to be sent to him along with the original copper plates. However there is plentiful evidence that prints were pulled for the King of France and influential persons in Paris as well. Most of the surviving sets and individual prints appear to belong to this surreptitious group. The above series is not only a landmark in the history of Chinese and European art but also testifies to the direct artistic cooperation between China and Europe in the eighteenth century. It has been a common misconception that China was only interested in itself and detested the foreigners -- here the Emperor himself proved the contrary. VERY RARE IMPRESSIONS WITH CONTEMPORARY FRENCH HAND-COLOURING. The complete set of sixteen black and white engravings or a few individual prints from this set have come onto the market for sale only rarely. We can locate no other examples of any of the prints with contemporary colouring having been for sale or in public or private collections. PROVENANCE: Robert Barnwell Roosevelt 1829-1906 the uncle of Theodore Roosevelt and great-uncle of Eleanor Roosevelt. He was an early conservationist and worked for the protection of waterways. Roosevelt served in Congress and was later appointed to a diplomatic post in the Netherlands. He is credited with influencing his nephew Theodore Roosevelt to become a conservationist. With the ownership label "R.B. Roosevelt/ 26 East 20th Street/ New York" attached to the verso on one print. Cohen-De Ricci 1012-1013. Cordier Bibliotheca Sinica 641-642. Fünf Jahrhunderte Buchillustration 141. Brunet V 1178. P. Pelliot "Les conquêtes de l'empereur de la Chine" T'oung Pao ed. H. Cordier & P. Pelliot vol 20 1921 pp. 183-274. Michèle Pirazzoli t'Serstevens Gravures de conquêtes de l'Empereur de la Chine Kien-Long au Musée Guimet 1969. Hartmut Walravens "The Introduction of Copper-Engraving into China" 62nd IFLA General Conference August 25-31 1996. unknown

Ursus Books · États-Unis100 000,00 $US≈ 89 341,60 €

[CHINA, Canton School]Biblio.com

Album of exceptional watercolours of members of the Chinese court and of various tradesmen and occupations

1800réf. 26715Canton 1800. Large 4to. 15 x 12 1/2 inches. 141 watercolours on thin paper nearly all captioned in ink in Chinese in the lower right corner each tipped to a sheet of wove paper. Mid-nineteenth century citron half morocco over marbled paper covered boards spine with raised bands in six compartments lettered in gilt in the second compartment the others with a repeat decoration in gilt marbled edges Provenance: Annie Pearson Viscountess Cowdray née Cass 1860-1932 Dunecht House Aberdeenshire. An extraordinary album of early Chinese export watercolours of the highest quality. Beginning in the late 18th century centred on the treaty port of Canton there existed a thriving trade in ethnographical watercolours executed by local Chinese artists and sold to the western merchants and travellers. The best known result of this trade is William Mason's Costume of China first published in London in 1800 which is illustrated with 60 hand-coloured aquatints adapted from a series of original watercolours by Pu-Qua of Canton. It was common for the local artists including Pu-Qua to work from a set series of models. The present album includes a number of compositions that are from the same set of models as those used by Pu-Qua but they include more detail and more of the trade-associated paraphernalia than are shown in the images as published in Mason's work. This suggests that they were not copied from Mason but were after another more detailed source or were unique compositions by the artist based on a similar series of models. Importantly these watercolours are of a uniformly higher quality than usually encountered and represent not only a wide array of occupations but also members of the highest echelon of Chinese society. The detailing on the costumes worn by these members of the royal court is breathtaking with copious use of gilt. Later collections of Chinese export watercolours were routinely executed on less expensive pith paper whereas the present watercolours are on high quality tissue and are larger in size than those typically encountered. The album represents an earlier more prestigious style of export watercolour paintings specifically meant for wealthy Europeans. These are Chinese watercolours of the highest quality designed and executed to the highest standards. The album was once owned by Annie Pearson Viscountess Cowdray Steward of Colchester and wife of Lord Weetman Dickinson Pearson 1st Viscount Cowdray. Cf. Crossman The China Trade Princeton: 1972; cf. Clunas Chinese Export Watercolours London: 1984. unknown

Donald Heald Rare Books · États-Unis145 000,00 $US≈ 129 545,32 €

KANGXI, Emperor of ChinaBiblio.com

Ma. Han-i araha alin-i tokso de halhūn be jailaha ši Ch. Yuzhi bishu shanzhuang shi å¾¡è£½é¿æš‘å±±èŽŠè©©; Imperial Poems on the Mountain Estate to Escape the Heat

réf. 1136136 folding black & white woodcut plates. 88 folding leaves. Two debtelin in one vol. 8vo 265 x 166 mm. pink wrappers orig. block-printed title-slip on yellow silk on upper cover early stitching. Beijing: Wuying dian 武英殿 Postscript dated 1712. First edition of the Kangxi Emperor's r. 1661-1722 poetic cycle for the 36 scenic sights within the Rehe summer estate each accompanied by a stunning double-page woodcut illustration. Printed under the emperor's direct supervision on superior paper and using woodblocks carved by two of the finest artisans in the palace workshop this celebrated album had an initial print run of only 400 copies 200 in Manchu our copy and 200 in Chinese. As Stephen H. Whiteman writes in Where Dragon Veins Meet: The Kangxi Emperor and His Estate at Rehe 2020 these exclusive royal albums were most likely gifts from the Kangxi Emperor to "a relatively small circle of imperial clansmen steppe elites senior officials and others close to the throne" on the occasion of his 60th birthday in 1713 and their presentation was meant to "generate a particular bond of loyalty between the emperor and those he favored with this rare gift" pp. 183 224. First constructed in 1703 and enlarged over the next century the Rehe summer estate located beyond the Great Wall in present-day Chengde about 175 kilometers northeast of Beijing played an important role throughout the Qing empire's political history. It is today a UNESCO World Heritage Site. When the Kangxi Emperor ordered its initial construction in 1702 after half a century of expansionary war the summer estate was to become "the most substantial in a network of traveling palaces Ch. xinggong 行宮 that supported his annual tours north among the court's Inner Mongolian allies." But its significance quickly expanded. The Mountain Estate to Escape the Heat as the site would eventually be named effectively served as a secondary capital the emperor residing there from late spring through early autumn each year over the last decade of his life. "Yet it was also decidedly not the capital. Freed from the architectonic constraints of the Forbidden City Kangxi employed imperial parks and gardens as alternative spaces of rulership. Like his almost exact contemporaries in Europe and South Asia Aurangzeb r. 1658-1707 Louis XIV r. 1643-1715 and Peter the Great r. 1682-1725 Kangxi made designed landscapes central to his performance of authority.Kangxi's Mountain Estate was substantially a site of rituals of intimacy and exchange that performed a temporary elision of social difference between emperor and subject: roaming in the gardens banqueting entertainments and gift giving"-ibid. pp. 4-5. "In 1711 the Kangxi emperor formally initiated a project that sought to interweave the physical and sensory experiences of the Mountain Estate with his ideology of rulership and personal biography. Imperial Poems on the Mountain Estate to Escape the Heat presented the thirty-six scenes of the park-palace through a combination of imperially composed texts and images created by artists of the court. Produced almost simultaneously in three different mediums the work was part of a coordinated multifaceted effort to articulate a vision of Qing imperial rule through the links between landscape technology and the emperor himself"-ibid. 151. Our edition is the first to contain woodcuts; it was the second of many installments of the album - including a later one with copperplate engravings made by the Italian missionary Matteo Ripa 1682-1746 - and the earliest that survives. It opens with the emperor's "Record of the Mountain Estate" Ma. Han-i araha alin-i tokso de halhūn be jailaha gi bithe dated Kangxi 50 1711 followed by the impressions in red of his personal seals: Ti yuan zhu ren 體元主人 and Wan ji yu xia è¬å¹¾é¤˜æš‡; the latter which means "a brief leisure" was reserved for the emperor's own calligraphic and literary works. The emperor briefly introduces each of the 36 scenic poems in prose as if guiding the reader through a personal tour of the summer estate. The fold-out woodcut illustrations drawn by the court artist Shen Yu 沈崳 b. 1649 and carved by the artisans Zhu Gui 朱圭 ca. 1644-1717 and Mei Yufeng 梅裕鳳 fl. ca. 1696-1713 follow each poem. The album concludes with the Postscript signed by four palace officials who supervised its production dated Kangxi 51 1712. "Whether derived from or simply correlated to the unique album now lost the woodblock-printed book functions as a surrogate for the paintings. It imitates the album's arrangement and mode of engagement with the landscape pairing image and text in an intimately scaled format. The style of the images evokes Wang Yuanqi but also and more significant the emperor's most important artist thereby marking the book as a work of the court's highest echelon of cultural production and an object clearly commissioned and owned by the emperor. "Kangxi was intimately involved in the minutiae of the book's production from the selection of a specific type of high-quality paper to reviewing and editing the printing proofs to inspecting samples of the finished work. He was kept closely informed about the progress of the project including difficulties in curing the datewood blocks Zhu Gui and Mei Yufeng used as well as the need for more artisans given the scale and intricacy of the work. The order for four hundred copies two hundred in Chinese and another two hundred in Manchu came directly from the throne. In comparison to other contemporary projects with print runs of one thousand or more this number suggests that the emperor had a clear sense of the exclusive audience he intended to reach."-ibid. pp. 182-83. A monument of artistic production under imperial patronage the album of 36 sites has been the topic of extensive scholarly research. Comparing the woodcut edition to earlier traditions of royal literature and garden illustration in China the art historian Ma Yazhen 馬雅貞 of National Tsinghua University points out that many aspects of this album were unprecedented. For example she observes that the album is likely the first use of a fold-out illustration in a Chinese book - a detail that has long been overlooked. The wide fields of vision printed without frames the absence of persons within the buildings and corridors and the visual presentation of imperial poetry alongside official commentaries are only some of the album's many fascinating features that being unusual and sometimes unprecedented continue to generate new scholarly interpretation and debate. Interest in the album has only grown in recent decades following the publication of court archives that shed light on the process of its production. We know now for example that the Kangxi Emperor personally specified the layout choice of paper number of copies and even the thickness of brushstrokes of the Manchu issue and that its printing was carried out in batches in the year 1713 rather than 1712 date of Postscript. Some of the idiosyncrasies of the Manchu issue which survives less well than its Chinese counterpart nevertheless remain under-explored by researchers who have generally focused on the Chinese-language editions of the album. We find little scholarly discussion for example on the emperor's choice to exclude from the Manchu issue the extensive commentaries for his poetry compiled by palace officials a decision that surely gave the album a different - perhaps more personal than belletristic - tone of voice a voice reserved exclusively for its Manchu-speaking recipients. As mentioned above the Manchu issue has survived less well than the Chinese issue. Of the Manchu issue we locate copies at BnF Columbia LC SBBerlin Cambridge Harvard and SOAS in WorldCat. In fine and fresh condition preserved in yellow silk-covered folder and slipcase. The plates are fine and clean. The fold in each plate has been very carefully strengthened on the verso. A few minor marginal tears and paper flaws. Several other minor and skillful repairs. â§ Philippe Forêt Mapping Chengde: the Qing Landscape Enterprise University of Hawai'i Press 2000; 馬雅貞 "çš‡è‹‘åœ–ç¹ªçš„æ–°å…¸ç¯„ï¼šåº·ç†™ã€Šå¾¡è£½é¿æš‘å±±èŽŠè©©ã€‹çš„è£½ä½œåŠå…¶æ„ç¾©" 故宮學術季刊 32 No. 2 2014 pp. 39-80. James A. Millward et al. eds. New Qing Imperial History: the Making of Inner Asian Empire at Qing Chengde Routledge 2004. Stephen H. Whiteman "Creating the Kangxi Landscape: Bishu shanzhuang and the Mediation of Qing Imperial Identity" PhD dissertation Stanford 2011; idem. Where Dragon Veins Meet: The Kangxi Emperor and His Estate at Rehe University of Washington Press 2020. unknown

Jonathan A. Hill, Bookseller, Inc. · États-Unis250 000,00 $US≈ 223 354,00 €

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