{"status":"ok","message-type":"work","message-version":"1.0.0","message":{"indexed":{"date-parts":[[2026,6,5]],"date-time":"2026-06-05T02:25:01Z","timestamp":1780626301081,"version":"3.54.1"},"reference-count":74,"publisher":"Duke University Press","issue":"1","content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":[],"published-print":{"date-parts":[[2020,4,1]]},"abstract":"<jats:title>Abstract<\/jats:title>\n               <jats:p>This research focuses on one of the most famous paintings made at the court of the Qing dynasty (1644\u20131911)\u2014Qingming shanghe (Up the River during Qingming). Commissioned by the Yongzheng emperor (r. 1723\u20131735) and completed in the second year of the Qianlong emperor's reign (1736\u20131795), the painting is a rare example of Qing court art that reveals how Qianlong furthered his father's artistic vision while formulating his own in the first fifteen years of his long tenure as ruler. This vision involved how to reinterpret and reinvent the Chinese painting tradition through time-honored themes. The article is divided into four sections. In the first, it brings attention to the salient and crucial but long neglected stylistic features of the painting\u2014those that emphasize theatricality and spectatorship. These interconnected features link and characterize the paintings commissioned by Yongzheng. The second section shifts to discuss the emerging cultural agenda of Yongzheng as seen through the manner in which court art references the Chinese painting tradition. The most remarkable act regards the reinterpretation of old painting themes that include Qingming shanghe and Baijun tu (One Hundred Horses). The third section analyzes how the paratextual elements of Qingming shanghe, especially Qianlong's poem and inscription, inform us of the emperor's views about the production mechanism of court painting and the political meaning of this work. The last section, based on Qianlong's understanding of the painting, highlights the emperor's cultural agenda associated with the idea of yuanben, which pointed to new versions of old themes made by his painting academy.<\/jats:p>","DOI":"10.1215\/00666637-8124988","type":"journal-article","created":{"date-parts":[[2020,6,29]],"date-time":"2020-06-29T22:19:57Z","timestamp":1593469197000},"page":"85-117","source":"Crossref","is-referenced-by-count":3,"title":["One Painting, Two Emperors, and Their Cultural Agendas"],"prefix":"10.1215","volume":"70","author":[{"given":"Cheng-hua","family":"Wang","sequence":"first","affiliation":[],"role":[{"vocabulary":"crossref","role":"author"}]}],"member":"73","reference":[{"key":"2022051705394960700_aaa8124988C1","first-page":"9","article-title":"Li Kung-lin and the Art of Painting","volume-title":"Li Kung-lin's Classic of Filial Piety","author":"","year":"1993"},{"key":"2022051705394960700_aaa8124988C2","first-page":"51","article-title":"Li Kung-lin's Use of Past Styles","volume-title":"Artists and Traditions: Uses of the Past in Chinese Culture","author":"","year":"1976"},{"key":"2022051705394960700_aaa8124988C3","first-page":"123","article-title":"The Qianlong Emperor and Tibetan Buddhism","volume-title":"New Qing Imperial History: The Making of Inner Asian Empire at Qing Chengde","author":"","year":"2004"},{"key":"2022051705394960700_aaa8124988C4","volume-title":"Empire of Emptiness: Buddhist Art and Political Authority in Qing China","author":"","year":"2003"},{"key":"2022051705394960700_aaa8124988C5","unstructured":"Chang Yun \u5f35\u7b60\n          . \u201cWang Yuanqi Xihu shijing tu yanjiu: Qinggong Zhengtongpai dijinghua de chansheng ji zhengzhi yihan\u201d \u738b\u539f\u7941 \u300a\u897f\u6e56\u5341\u666f\u5716\u300b \u7814\u7a76:\u6e05\u5bae\u6b63\u7d71\u6d3e\u5730\u666f\u756b\u7684\u7522\u751f\u53ca\u653f\u6cbb\u610f\u6db5 [Ten Views of West Lake by Wang Yuanqi: Topographical landscape paintings of the Orthodox School produced at the Qing court and their political implications]. 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Master's thesis, National Taiwan Normal University, 2013."},{"key":"2022051705394960700_aaa8124988C32","first-page":"38","article-title":"Representations of Exemplary Scholar-Officials, Past and Present","volume-title":"Arts of the Sung and Y\u00fcan: Ritual, Ethnicity, and Style in Painting","author":"","year":"1999"},{"key":"2022051705394960700_aaa8124988C33","first-page":"120","article-title":"Yuanming yuan maimai jie gouchen","volume":"6","author":"","year":"2004","journal-title":"Gugong bowuyuan yuankan"},{"key":"2022051705394960700_aaa8124988C34","volume-title":"Ming Qing fengsuhua","author":"","year":"2008"},{"key":"2022051705394960700_aaa8124988C35","volume-title":"Imperial Illusions: Crossing Pictorial Boundaries in the Qing Palaces","author":"","year":"2015"},{"key":"2022051705394960700_aaa8124988C36","volume-title":"The Social Life of Inkstones: Artisans and Scholars in Early Qing China","author":"","year":"2017"},{"key":"2022051705394960700_aaa8124988C37","first-page":"242","article-title":"The Yongzheng Emperor: Art Collector and Patron","volume-title":"China: The Three Emperors 1662\u20131795","author":"","year":"2005"},{"key":"2022051705394960700_aaa8124988C38","first-page":"387","article-title":"Suzhou pian\u2019 yu qinggong yuanti de chengli","volume-title":"Wei haowu: 16\u201318 shiji Suzhou pian ji qi yingxiang","author":"","year":"2018"},{"key":"2022051705394960700_aaa8124988C39","volume-title":"Guse: Shiliu zhi shiba shiji yishu de fanggu feng","author":"","year":"2003"},{"key":"2022051705394960700_aaa8124988C40","first-page":"80","article-title":"Fengfu duocai de Qingdai jinduan","volume":"3","author":"","year":"1987","journal-title":"Gugong bowuyuan yuankan"},{"key":"2022051705394960700_aaa8124988C41","unstructured":"Lin Huan-sheng \u6797\u7165\u76db\n          . \u201cDing Guanpeng de mogu huihua yu Qianlong yuanhua xin fengge\u201d \u4e01\u89c0\u9d6c\u7684\u6479\u53e4\u7e6a\u756b\u8207\u4e7e\u9686\u9662\u756b\u65b0\u98a8\u683c [The paintings imitating old masters by Ding Guanpeng and the new style of Qianlong's Painting Academy]. Master's thesis, National Taiwan University, 1994."},{"key":"2022051705394960700_aaa8124988C42","unstructured":"Lo, Hui-Chi\n          . \u201cPolitical Advancement and Religious Transcendence: The Yongzheng Emperor's (1678\u20131735) Deployment of Portraiture.\u201d PhD diss., Stanford University, 2009."},{"key":"2022051705394960700_aaa8124988C43","first-page":"26","article-title":"Huangquan jingying: Dui Yinzhen xingle tu ce de ruogan guancha","volume-title":"Gugong wenwu yuekan","author":"","year":"2009"},{"issue":"3","key":"2022051705394960700_aaa8124988C44","first-page":"103","article-title":"Qingdai gongting huama yuhui de zhuanhuan yu yiyi: Cong Lang Shining de Baijun tu tanqi","volume":"27","author":"","year":"2010","journal-title":"Gugong xueshu jikan"},{"key":"2022051705394960700_aaa8124988C45","volume-title":"Ch\u016bgoku no Y\u014df\u016bga-ten: Minmatsu kara Shin jidai no kaiga, hanga, sashie-bon","author":"","year":"1995"},{"key":"2022051705394960700_aaa8124988C46","volume-title":"Zhao Mengfu: Calligraphy and Painting for Khubilai's China","author":"","year":"2011"},{"key":"2022051705394960700_aaa8124988C47","volume-title":"De Verboden Stad: Hofcultuur van de Chinese Keizers (1644\u20131911) \/ The Forbidden City: Court Culture of the Chinese Emperors (1644\u20131911)","author":"","year":"1990"},{"key":"2022051705394960700_aaa8124988C48","volume-title":"Qingdai gongting huihua","author":"","year":"1996"},{"issue":"2","key":"2022051705394960700_aaa8124988C49","first-page":"37","article-title":"Qinggong chunxiao: Qianlong chao huayuan zhong de Hangong chunxiao tu","volume":"31","author":"","year":"2013","journal-title":"Gugong xueshu jikan"},{"key":"2022051705394960700_aaa8124988C50","volume-title":"Qing Gaozong yuzhi shiwen quanji","author":"","year":"1976"},{"key":"2022051705394960700_aaa8124988C51","first-page":"307","article-title":"Court Painting under the Qianlong Emperor","volume-title":"The Elegant Brush: Chinese Painting under the Qianlong Emperor, 1735\u20131795","author":"","year":"1985"},{"key":"2022051705394960700_aaa8124988C52","first-page":"341","article-title":"Shitao Wang Yuanqi hezuo Lanzhu tu de wenti","volume-title":"Fengge yu shibian: Zhongguo huihua shi lunji","author":"","year":"1996"},{"issue":"26","key":"2022051705394960700_aaa8124988C53","first-page":"1","article-title":"Yi bimo he tiandi: Dui shiba shiji Zhongguo shanshuihua de yige xinlijie","author":"","year":"2009","journal-title":"Guoli Taiwan daxue meishushi yanjiu jikan"},{"key":"2022051705394960700_aaa8124988C54","unstructured":"Su Mei-hsuan \u8607\u73ab\u7444\n          . \u201cCong Mingdai guanyuan yaji tu kan Mingdai yaji tu ji qunti xiaoxiang de fazhan\u201d \u5f9e\u660e\u4ee3\u5b98\u54e1\u96c5\u96c6\u5716\u770b\u660e\u4ee3\u96c5\u96c6\u5716\u53ca\u7fa4\u9ad4\u8096\u50cf\u7684\u767c\u5c55 [The development of the paintings on literary gatherings and group portraits in the Ming dynasty seen through paintings on the literary gatherings of officials]. 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Master's thesis, National Taiwan Normal University, 2016."},{"key":"2022051705394960700_aaa8124988C69","first-page":"257","article-title":"Cong Qingmingjie dao xiqingri\u2014sanfu Qingming shanghe tu zhi bijiao","volume-title":"Qingming shanghetu xinlun","author":"","year":"2011"},{"key":"2022051705394960700_aaa8124988C70","first-page":"1","article-title":"Qing yuanben de huajia men","volume-title":"Qingming shanghe tu","author":"","year":"2009"},{"key":"2022051705394960700_aaa8124988C71","volume-title":"Qinghe shuhua fang","author":"","year":"2011"},{"key":"2022051705394960700_aaa8124988C72","volume-title":"Qinggong shuwen","author":"","year":"2009"},{"key":"2022051705394960700_aaa8124988C73","volume-title":"Shiqu baoji","author":""},{"key":"2022051705394960700_aaa8124988C74","volume-title":"Qinggong Neiwufu Zaobanchu dang'an zonghui","author":"","year":"2005"}],"container-title":["Archives of Asian Art"],"original-title":[],"language":"en","link":[{"URL":"https:\/\/read.dukeupress.edu\/archives-of-asian-art\/article-pdf\/70\/1\/85\/1545590\/85wang.pdf","content-type":"application\/pdf","content-version":"vor","intended-application":"syndication"},{"URL":"https:\/\/read.dukeupress.edu\/archives-of-asian-art\/article-pdf\/70\/1\/85\/1545590\/85wang.pdf","content-type":"unspecified","content-version":"vor","intended-application":"similarity-checking"}],"deposited":{"date-parts":[[2022,5,17]],"date-time":"2022-05-17T05:39:58Z","timestamp":1652765998000},"score":1,"resource":{"primary":{"URL":"https:\/\/read.dukeupress.edu\/archives-of-asian-art\/article\/70\/1\/85\/166007\/One-Painting-Two-Emperors-and-Their-Cultural"}},"subtitle":[],"short-title":[],"issued":{"date-parts":[[2020,4,1]]},"references-count":74,"journal-issue":{"issue":"1","published-print":{"date-parts":[[2020,4,1]]}},"URL":"https:\/\/doi.org\/10.1215\/00666637-8124988","relation":{},"ISSN":["0066-6637","1944-6497"],"issn-type":[{"value":"0066-6637","type":"print"},{"value":"1944-6497","type":"electronic"}],"subject":[],"published":{"date-parts":[[2020,4,1]]}}}