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Yuanmingyuan in Eighteenth-century France 133
7 Différents Palais & Temples de la Chine, dessinés & gravés a la Chine. The album is in
the Department of Prints and Photography, Réserve Oe-21 (C)-pet fol.
8 The inscription provides the names of Sun Hu (, act. ca. 1728–1745) and Shen Yuan,
himself one of the artists of the original painted album, who prepared the version for
the block-cutters.
9 See Constance Bienaimé, “Les objets ‘de la Chine’ dans les collections des ducs de
Chaulnes,” in L’Extrême-Orient dans la culture européenne des XVIIe et XVIIIe siècles,
ed. Florence Boulerie et al. (Tübingen: Narr, 2009), 151–165.
10 On the inventories of objects, texts and images sent by the French Jesuits in Beijing, see
Henri Bernard S.J., “Catalogue des objets envoyés de Chine par les missionnaires de 1765
à 1786,” Bulletin de l’Université l’Aurore, Shanghai, 1948–III (vol. 9, Jan.-April), nos.
33–34: 119–206.
11 Twelve volumes containing Bertin’s correspondence with the French Jesuits are in the
Bibliothèque de l’Insitut de France; for the relevant inventory lists, see Bib. Inst. Ms
1524.
12 Royer Collection/Zeldzaamheden, Rijksmuseum voor Volkenkunde, Leiden, The
Netherlands (1883, accession no. 360–364). See Jan van Campen, “A Chinese Collection
in the Netherlands,” The Magazine Antiques, September 2000: 360–371.
13 BnF, Département des Estampes et Photographie, Réserve Oe-26-FT 4.
14 See Che Bing Chiu, Yuanming Yuan: Le jardin de la Clarté parfaite (Besançon: Les Éditions
de l’Imprimeur, 2000). See also n. 6 above.
15 Haitien. Maison de Plaisance, de l’Empereur de la Chine.
16 The question of sources is complex. Details in the woodcut prints not found in the painted
album indicate that most, but not all, later painted versions are based on the woodblock
prints. Other details seem to be the invention of individual painters or studios producing
replicas of the “40 Views.”
17 The manuscript is in the BnF, Fonds Bréquigny, vol. 123, fols. 243–246.
18 Chinese name: Qian Deming 錢 , active in China after 1749. The BnF manuscript,
however, is not in Amiot’s distinctive handwriting; it appears to be a copy by another
hand.
19 Chinese name: Wang Zhicheng , 1702–1768, arrived in China 1738. Attiret’s
biography and obituary are contained in a long letter from Amiot dated 1 March 1769.
See Henri Bernard S.J., “Le Frère Attiret au service de K’ien-long (1739–1768),” Bulletin
de l’Université Aurore 1943, Série III: Tome 4, N 1 (13): 30–82; and Tome 4, N 2
o
o
(14): 435–474.
20 The 34 volumes of the Lettres édifiantes et curieuses, écrites des Missions étrangères, par
quelques missionnaires de la Compagnie de Jésus . . . were published between 1702 and
1776. For Attiret’s letter on the Yuanmingyuan, see vol. 27 (1749, Paris: chez les Frères
Guérin). The letter was widely reprinted in several languages.
21 See Paul Pelliot, “Les ‘Conquêtes de l’empereur de la Chine’,” T’oung Pao 20 (1921),
183–274; the discussion of the album of the “40 Views” Attiret eventually sent is on
pp. 206–207, in the text and n. 3.
22 The text of the “Jardin de yuen-ming-yuen” also appears in the BnF, Fonds Bréquigny,
vol. 126, fols. 112–113; neither version provides a date.
23 The “preface” is actually the two “Records”: the Yongzheng (p, r. 1723–1735)
emperor’s 1725 “Yuanmingyuan ji” 圓 園, and the Qianlong 1742 “Yuanmingyuan
houji” 圓 園. The names of the “40 Views” are contained in the tables of contents
for the two volumes of the book.
24 The emperor’s political agenda is a key element of my thesis, “‘40 Views of the Yuanming-
yuan’: Image and Ideology in a Qianlong Imperial Album of Poetry and Paintings” (PhD
diss., Yale University, 2011).
25 The image has been published at least twice. See Europa und die Kaiser von China
(1240–1816), Hendrik Budde et al., ed. (Frankfurt am Main: Insel-Verlag, 1985), 261.
And see Anita Chung, Drawing Boundaries: Architectural Images in Qing China
(Honolulu: University of Hawai’i Press, 2004), 61, color pl. 4.
26 Paysages Chinois Tirés des Jardins de l’Empereur, et autres. BnF, Department of Prints
and Photographs, Oe-26-FT.