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180

48 rd
See Qianlong, 3 year, Yangxindian neiwufu huojidang quoted in Yu Peichin, “Bieyou
xinyi yi Qianlong guanyao de cuangxin wei li,” йϞอจ ˸৻ඤ֜ᇉٙ௴อމԷ
[Innovations as seen through the Qianlong imperial kilns] in Qianlong huangdi de
wenhua daye৻ඤެ܎ٙ˖ʷɽุ Emperor Ch’ien-lung’s Grand Cultural Enterprise
(Taipei: National Palace Museum, 2002): 285, fn. 51.

49 Only one leaf of the thirty leaves painting album has been published in, Michel
Beurdeley and Guy Raindre, Qing Porcelain, Famille Verte, Famille Rose (London:
Thames and Hudson, 1987), 33, Figure 26.

50 Francesca Bray, “Agricultural Illustrations,” in Bray and Metailie, eds. (2007), 519-552.

51
There are no studies that focus specifically on the meaning of the Qing court
productions of Taoye tu that I know of. Yu Peichin has written several pages on
Qianlong’s objectives in her curatorial essay, Yu Peichin “Bieyou xinyi, yi Qianlong
guanyao de cuangxin wei li,” 282-289 and 166-169.

52
This is Yu Peichin’s point in “Bieyou xinyi, yi Qianlong guanyao de cuangxin wei li,”
286. Yu Peichin concludes that the Tiangong kaiwu pictures overly vague and lacking in
reason.

53 Shi ji was written by Sima Qian between 109 BC to 91 BC. See the quote from Shi ji
in Hsieh Mingliang, “Qianlong de taoci jianshang guan,” 24, fn.160.

54
See Yu Peichin, “Bieyou xinyi, yi Qianlong guanyao de cuangxin wei li,” 285, fn. 43
and Hsieh Mingliang “Qianlong de taoci jianshang guan,” 24. For instance, in the poem
Gutao guange ̚ௗᜦဂ, Qianlong’s verse reads: “futuo kouyan de neng xu..tao yu hebin
ciqi zhu໖ዕɹ᫕ᅃঐळ…ௗ׵ئᏵϤՉᙎ.”

55 See Tang Ying’s “Tuci jilue,” in Xiong and Xiong, comps. (2006), 299.

56
See Crossley’s introduction for an overview of her argument about history, time, and
imperial identity during Qianlong’s reign: Translucent Mirror (1999).

57
Craig Clunas, Chinese Export Watercolours (London: Victoria and Albert Museum,
1984); Carl L. Crossman, Decorative Arts of the Chine Trade: Paintings, Furnishings
and Exotic Curiosities (Woodbridge, Suffolk: Antique Collectors' Club, 1991); Victoria
and Albert Museum and Guangzhou Cultural Bureau, eds., 18-19 ˰ߏϺ۬ࠬي. ߵ਷ၪ
εлԭЬत௹ي৫ᔛᄿψ̮ቖ೥: Souvenir from Canton – Chinese Export Paintings
From the Victoria and Albert Museum (Shanghai: Shanghai guji chubanshe, 2003).

58
Anita Chung, Drawing Boundaries: Architectural Images in Qing China (Honolulu:
University of Hawaii Press, 2004).