Qianlong Emperor in the context of "Admonitions Scroll"

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👉 Qianlong Emperor in the context of Admonitions Scroll

The Admonitions Scroll is a Chinese narrative painting on silk that is traditionally ascribed to Gu Kaizhi (ca. 345 – ca. 406), but which modern scholarship regards as a 5th to 8th century work that may or may not be a copy of an original Jin dynasty (266–420) court painting by Gu. The full title of the painting is Admonitions of the Court Instructress (Chinese: 女史箴圖; pinyin: Nǚshǐ zhēn tú). It was painted to illustrate a poetic text written in 292 by the poet-official Zhang Hua (232–300). The text itself was composed to reprimand Empress Jia (257–300) and to provide advice to the women in the imperial court. The painting illustrates this text with scenes depicting anecdotes about exemplary behaviour of historical palace ladies, as well as with more general scenes showing aspects of life as a palace lady.

The painting, which is now held at the British Museum in London, England, is one of the earliest extant examples of a Chinese handscroll painting, and is renowned as one of the most famous Chinese paintings in the world. The painting is first recorded during the latter part of the Northern Song (960–1127), when it was in the collection of Emperor Huizong of Song (r. 1100–1126). It passed through the hands of many collectors over the centuries, many of whom left their seals of ownership on the painting, and it eventually became a treasured possession of the Qianlong Emperor (r. 1735–1796). In 1899, during the aftermath of the Boxer Rebellion, the painting was acquired by an officer in the British Indian Army who sold it to the British Museum. The scroll is incomplete, lacking the first three of the twelve original scenes, which were probably lost at an early date. A monochrome paper scroll copy of the painting, complete in twelve scenes, was made during the Southern Song (1127–1279), and is now in the collection of the Palace Museum in Beijing, China.

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Qianlong Emperor in the context of House of Aisin-Gioro

The House of Aisin-Gioro is a Manchu clan that ruled the Later Jin dynasty (1616–1636), the Qing dynasty (1636–1912), and Manchukuo (1932–1945) in the history of China. Under the Ming dynasty, members of the Aisin Gioro clan served as chiefs of the Jianzhou Jurchens, one of the three major Jurchen tribes at this time. Qing bannermen passed through the gates of the Great Wall in 1644, and eventually conquered the short-lived Shun dynasty, Xi dynasty and Southern Ming dynasty. After gaining total control of China proper, the Qing dynasty later expanded into other adjacent regions, including Xinjiang, Tibet, Outer Mongolia, and Taiwan. The dynasty reached its zenith during the High Qing era and under the Qianlong Emperor, who reigned from 1735 to 1796. This reign was followed by a century of gradual decline.

The house lost power in 1912 following the Xinhai Revolution. Puyi, the last Aisin-Gioro emperor, nominally maintained his imperial title in the Forbidden City until the Articles of Favourable Treatment were revoked by Feng Yuxiang in 1924. The Qing was China's last orthodox imperial dynasty.

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Qianlong Emperor in the context of High Qing era

The High Qing era (Chinese: 康雍乾盛世; pinyin: Kāng Yōng Qián Shèngshì), or simply the High Qing, refers to the golden age of the Qing dynasty between 1683 and 1799. China was ruled by the Kangxi, Yongzheng, and Qianlong Emperors in this period, during which the prosperity and power of the empire grew to new heights.

Coming after the collapse of the Ming dynasty, the High Qing era saw China transform into a commercial state with nearly twice the population of its predecessor due to high political stability. Improvements in literacy also took place during this period, and the territory of China was greatly expanded north and west compared to the previous Ming dynasty. During the High Qing, the trend of imitating Chinese artistic traditions, known as chinoiserie, gained great popularity in Europe, due to the rise in trade with China and the broader current of Orientalism.

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Qianlong Emperor in the context of Dzungar genocide

The Dzungar genocide (Chinese: 準噶爾滅族; pinyin: Zhǔngáěr mièzú) was the mass extermination of the Dzungar people (Oirat Mongols) by the Qing dynasty. The Qianlong Emperor ordered the genocide after the rebellion in 1755 by Dzungar leader Amursana against Qing rule, after the dynasty first conquered the Dzungar Khanate with Amursana's support. The genocide was perpetrated by Manchu and Han generals of the Qing army, supported by Turkic oasis dwellers (now known as Uyghurs) who rebelled against Dzungar rule.

The Dzungar Khanate was a confederation of several Tibetan Buddhist Oirat Mongol tribes that emerged in the early 17th century, and the last great nomadic empire in Asia. Some scholars estimate that about 80% of the Dzungar population, or around 500,000 to 800,000 people, were killed by a combination of warfare and disease during or after the Qing conquest in 1755–1757. After wiping out the native population of Dzungaria, the Qing government then resettled Han, Hui, Uyghur, and Sibe people on state farms in Dzungaria, along with Manchu Bannermen to repopulate the area.

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Qianlong Emperor in the context of Tây Sơn dynasty

The Tây Sơn dynasty (Vietnamese: [təj ʂəːn]; Vietnamese: "Nhà Tây Sơn" or "Triều Tây Sơn", (chữ Hán: 朝西山; Chữ Nôm: 茹西山), officially Đại Việt (Chữ Hán: 大越), was an imperial dynasty of Vietnam. It originated in a revolt led by three peasant brothers with the surname Nguyễn, rebelling against the Lê dynasty, Trịnh lords and Nguyễn lords (no relation). The Tây Sơn would later be succeeded by the Nguyễn dynasty.

The Tây Sơn dynasty ended the century-long war between the Trịnh and Nguyễn families, overthrew the Lê dynasty, and united the country for the first time in 200 years. They acknowledged Qing suzerainty and gained recognition from the Qianlong Emperor as the legitimate rulers of Vietnam. Under the most prominent of the Tây Sơn brothers Nguyễn Huệ (Emperor Quang Trung) Vietnam experienced several years of relative peace and prosperity. But Quang Trung died relatively young at the age of 40 and his successor Cảnh Thịnh, aged 9, was unable to prevent civil conflict among the Tây Sơn court which allowed the last Nguyễn lord Nguyễn Ánh to retake the south of Vietnam, extinguish the Tây Sơn and establish the Nguyễn dynasty.

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Qianlong Emperor in the context of Ten Thousand Nations Coming to Pay Tribute

Ten Thousand Nations Coming to Pay Tribute (Chinese: 萬國來朝圖; pinyin: Wànguó láicháo tú, 1761) is a monumental (299x207cm) Qing dynasty painting depicting foreign delegations visiting the Qianlong Emperor in the Forbidden city in Beijing during the late 1750s.

The painting was intended to show the cosmopolitanism and the centrality of the Qing Empire, since most countries of Asia and Europe are shown paying their respects to the Chinese Emperor. China already had a long tradition of such paintings (designated as "Portraits of Periodical Offering"), starting from around the 6th century CE, but such paintings ended around the time of the Opium War, which shattered the ideal of the Great Chinese Empire in the middle of the world, and gave way to the awareness of China as simply one country among others. The principle was one of more-or-less voluntary submission, with presents being periodically brought to the Chinese Emperor as a symbolic gesture of acknowledgement of Chinese overlordship. According to Ming period writings "The Emperor resides in the center and holds the reins of all other nations and all things under the sun".

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Qianlong Emperor in the context of Canton System

The Canton System (1757–1842; Chinese: 一口通商; pinyin: Yīkǒu tōngshāng; Jyutping: jat1 hau2 tung1 soeng1, lit. "Single [port] trading relations") served as a means for Qing China to control trade with the West within its own country by focusing all trade on the southern port of Canton (now Guangzhou). The protectionist policy arose in 1757 as a response to a perceived political and commercial threat from abroad on the part of successive Chinese emperors.

From the late seventeenth century onwards, Chinese merchants, known as Hongs (Chinese: ; pinyin: háng), managed all trade in the port. Operating from the Thirteen Factories located on the banks of the Pearl River outside Canton, in 1760, by order of the Qing Qianlong Emperor, they became officially sanctioned as a monopoly known as the Cohong. Thereafter Chinese merchants dealing with foreign trade (Chinese: 洋行; pinyin: yángháng; Jyutping: joeng4 hong2; lit. "ocean traders", i.e. "overseas traders" or "foreign traders") acted through the Cohong under the supervision of the Guangdong Customs Supervisor (Chinese: 粵海關部監督; pinyin: Yuèhǎi guānbù jiàn dù; Jyutping: jyut6 hoi2 gwaan1 bou6 gaam1 duk1), informally known as the "Hoppo", and the Governor-general of Guangzhou and Guangxi.

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Qianlong Emperor in the context of Jokhang

The Jokhang (Tibetan: ཇོ་ཁང།, Chinese: 大昭寺), historically known as the Rasa Trulnang (ra sa 'phrul snang) or Qoikang Monastery or Zuglagkang (Tibetan: གཙུག་ལག་ཁང༌།, Wylie: gtsug-lag-khang, ZWPY: Zuglagkang or Tsuklakang), is considered the "heart of Lhasa". The Jokhang consists of a Tibetan Buddhist temple, its temple complex, and a Gelug school monastery. Located in Barkhor Square, it was built in c.640 by King Songsten Gampo to house the Jowo Mikyo Dorje, a statue of Akshobhya Buddha, brought to Tibet by his Nepalese queen, Bhrikuti. Another statue, the Jowo Shakyamuni, brought by his Tang Chinese queen Wencheng, is currently housed in the temple and the Jowo Mikyo Dorje is housed in the Ramoche, in Lhasa.

Many Nepalese and Indian artists and craftsmen worked on the temple's original design and construction. Around the 14th century, the temple was associated with the Vajrasana in India. In the 18th century the Qianlong Emperor of the Qing dynasty, following the Nepalese Gorkha invasion of Tibet in 1792, did not allow the Nepalese to visit this temple and it became an exclusive place of worship for the Tibetans. Early into the Cultural Revolution, the Red Guards attacked the Jokhang temple in 1966 and for a decade there was no worship. Renovation of the Jokhang took place from 1972 to 1980. In 2000, the Jokhang became a UNESCO World Heritage Site as an extension of the Potala Palace, which has been a World Heritage Site since 1994. After its UNESCO status was conferred, PRC China redeveloped parts of the World Heritage Sites in Lhasa, and the Barkhor Square in front of the temple was partially demolished and encroached upon.

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Qianlong Emperor in the context of Qing conquest of Xinjiang

The Ten Great Campaigns (Chinese: 十全武功; pinyin: Shíquán Wǔgōng) were a series of military campaigns launched by the Qing dynasty of China in the mid–late 18th century during the reign of the Qianlong Emperor (r. 1735–1796). They included three to enlarge the area of Qing control in Inner Asia: two against the Dzungars (1755–1757) and the "pacification" of Xinjiang (1758–1759). The other seven campaigns were more in the nature of police actions on frontiers already established: two wars against the Gyalrong of Jinchuan, Sichuan, another against the Taiwanese aboriginals (1787–1788), and four expeditions abroad against the Burmese (1765–1769), the Vietnamese (1788–1789), and the Gurkhas on the border between Tibet and Nepal (1790–1792), with the last group having two campaigns waged against them.

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