Description
Book SynopsisExamines all known surviving examples of the Qing court phenomenon of "scenic illusion paintings" ( tongjinghua), which today remain inaccessible inside the Forbidden City.
Trade Review"This trans-disciplinary book is relevant not just to the history of art and of the high Qing, but also to the history of science and technology"
-- Carla Nappi * New Books in East Asian Studies *
"Kristina Kleutghen’s carefully conceived new study. . . sits comfortably at the intersection of these two academic subfields, and provides specialists of both with an overdue, in-depth analysis of this remarkable moment of cross-cultural encounter. . . . The reader familiar with the historiography on the Qing will find a remarkably cohesive review of recent scholarship as it applies to the visual arts; to the nonspecialist, the volume provides an excellent entrée to Qing visual culture and the Qianglong Empire (1711-1799, r. 1736-1795). . . . Imperial Illusions provides the ideal platform for rethinking eighteenth-century court art as distinctively Qing."
-- Michele Matteini * CAA Reviews *
"[A] remarkably well-documented study. . . . Rich and stimulating. . . . There is no doubt that Imperial Illusions is an important contribution and provides a new perspective on visual culture at the Qianlong court."
-- Michèle Pirazzoli-t’Serstevens * Journal of Asian Studies *
"An invaluable addition to the ongoing conversation to globalize Chinese art history. . . . [Kleutghen’s] most important contribution is to return the scenic illusion paintings to their original space and treat them as part of the architecture, and whenever possible to excavate their original placement and to recreate the spaces to which they once belonged, feats which have not always been successfully achieved by her predecessors."
-- William Ma * China Review International: A Journal of Reviews of Scholarly Literature in Chinese Studies *
"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."
* Enfilade *
