https://www-cambridge-org.ezproxy3.lib.le.ac.uk/core/services/aop-cambridge-core/content/
view/848AC11159DA57BD66C63E4CFC166A43/9780511661198c11_p230-254_CBO.pdf/
twilight_of_the_trade_diasporas.pdf
Chinese regulated port- limited transport of goods into china so self sufficiency increased
p169-170 and 242
P243-4 opium war. Caused Chinese officials to worry all the silver would go
Yuans is a copy, qiu yings from ming dynasty is totally different
Qiang version has palace at end,
Northern song dynasty was during the original painting, they experienced some economic prosperity
Depicts daily life
Slide 31- it could be spring, when the festival was, worshipping ancestors etc, or it could be autumn-
fans, melons, new thought in analysis. Slides also have close pics of whats going on
https://www.revolvy.com/main/index.php?s=Along%20the%20River%20During%20the
%20Qingming%20Festival
Another notable remake was painted during the Ming dynasty (14th to 17th centuries). This
version has a length of 6.7 meters, longer than the original. It also replaced the scenery from
the Song dynasty to that of the Ming dynasty based on contemporary fashions and customs,
updating the costumes worn by the characters and the styles of vehicles (boats and carts).
The Song wooden bridge is replaced with a stone bridge in the Ming remake. The arc of the
stone bridge is much taller than that of the wooden original, and where the original had a
boat about to crash into the bridge, the reinterpretation has a boat being methodically guided
under the bridge by ropes, pulled by men ashore, several other large boats dutifully waiting
their turn, undisturbed.[13]
Depicted city- Kaifeng, recently idealised non existent city, from 2003, Kaifeng
An interpretation published in 2013 proposed that the painting was the artist's subtle
entreaty to the emperor to discern dangerous trends beneath the surface of
prosperity, and some of the suggested hints were:[26]
Receiving grain shipment at the docks was crucial to Kaifeng which depended on
transporting the food from the far south, yet only a lowly official was on duty
The few guards stationed at the city gate and the docks appeared not to be alert and
even lax in their appearances
The term "Qingming" did not refer to the solar term but was taken from the phrase 清明
之世 ("A bright and enlightened era") from the Book of the Later Han, and the name of
the painting was meant to be ironic
, http://factsanddetails.com/china/cat2/4sub9/entry-5478.html#chapter-13
‘Microcosm of life in china at the time’
Another Qing era handscroll “represents a collaborative effort on the part of five Painting
Academy artists active in the eighteenth century at the Qing court of the Qianlong emperor. The
figural scenes are especially numerous and detailed, making this painting stand out among the
various versions of "Along the River During the Qingming Festival." This scroll can be divided
into several major parts, including the rustic setting at the beginning (on the right), arched bridge
and market, city wall and surroundings, and Lake Jinming. In addition to the bustling figures and
packed shops, there are also untrammeled literati garden settings and a magnificent imperial
garden, creating for a fascinating and visually pleasing atmosphere that makes this painting a
microcosm of life in China at the time. The architectural elements accord with the rules of
perspective, and the buildings and streets are all laid out in an orderly fashion, the use of
proportion and distance likewise meticulously handled with great precision. Western-style
architecture is also evident. The handling of brush and ink is highly refined and the coloring
beautiful, making this the finest of all the "Along the River During the Qingming Festival" scrolls in
the National Palace Museum collection.
“Shen Yuan's composition and arrangement of the scenes in this painting are almost identical to
those in the Qing dynasty court version of "Along the River During the Qingming Festival." It
differs only in terms of certain details, such as the scene of crying by the grave during tomb
sweeping near the beginning of the rustic scene at the right and the inclusion of an inn and
shops by the side of the arched bridge in the middle part. There are also some discrepancies in
terms of the shop names as well as the structure and painting method of the architecture, the
arrangement of the garden scene in the top-scholar's mansion likewise slightly different. This
scroll is done on paper and mostly in ink with only a few washes of ochre added to the outlines of
the figures and buildings to give it a fresh and elegant manner. The rendering of the bridge
beams, buildings, and figures is exceptionally precise and orderly, making this a fine example
from the Painting Academy of the Qing dynasty court.
file:///C:/Users/Huma%20Hasan/Downloads/ubc_2013_spring_chang_su-chen.pdf
flourishing city as a symbol of a great empire
The literary tradition of city authors usually rendered a thriving city as the embodiment of times of
prosperity and used it as a synecdoche to represent a great empire, which probably also influenced
scholars’ interpretation of the Qingming scroll
3 In the Ming and Qing dynasties, many authors of prose poems and writings on cities also
considered that prosperous markets and commonplace enjoyments represented the glory of an
empire,244 which apparently was also the attitude of viewers toward the popular Qingming scroll
The Qingming scrolls since the Song dynasty, by contrast, contain more scenes of ordinary people’s
lives and pleasures
the painters of popular Qingming incorporated these two ideals—the rural idyll and urban utopia—
into their scrolls, though the urban environment was most prominent.246 I will show that Qingming
painters of different times and places tended to perpetuate the image of rural life in its traditional
pattern, but adjusted their versions of an urban ideal by extracting and selecting the ever changing
and better parts of city life of the Ming-Qing period.
view/848AC11159DA57BD66C63E4CFC166A43/9780511661198c11_p230-254_CBO.pdf/
twilight_of_the_trade_diasporas.pdf
Chinese regulated port- limited transport of goods into china so self sufficiency increased
p169-170 and 242
P243-4 opium war. Caused Chinese officials to worry all the silver would go
Yuans is a copy, qiu yings from ming dynasty is totally different
Qiang version has palace at end,
Northern song dynasty was during the original painting, they experienced some economic prosperity
Depicts daily life
Slide 31- it could be spring, when the festival was, worshipping ancestors etc, or it could be autumn-
fans, melons, new thought in analysis. Slides also have close pics of whats going on
https://www.revolvy.com/main/index.php?s=Along%20the%20River%20During%20the
%20Qingming%20Festival
Another notable remake was painted during the Ming dynasty (14th to 17th centuries). This
version has a length of 6.7 meters, longer than the original. It also replaced the scenery from
the Song dynasty to that of the Ming dynasty based on contemporary fashions and customs,
updating the costumes worn by the characters and the styles of vehicles (boats and carts).
The Song wooden bridge is replaced with a stone bridge in the Ming remake. The arc of the
stone bridge is much taller than that of the wooden original, and where the original had a
boat about to crash into the bridge, the reinterpretation has a boat being methodically guided
under the bridge by ropes, pulled by men ashore, several other large boats dutifully waiting
their turn, undisturbed.[13]
Depicted city- Kaifeng, recently idealised non existent city, from 2003, Kaifeng
An interpretation published in 2013 proposed that the painting was the artist's subtle
entreaty to the emperor to discern dangerous trends beneath the surface of
prosperity, and some of the suggested hints were:[26]
Receiving grain shipment at the docks was crucial to Kaifeng which depended on
transporting the food from the far south, yet only a lowly official was on duty
The few guards stationed at the city gate and the docks appeared not to be alert and
even lax in their appearances
The term "Qingming" did not refer to the solar term but was taken from the phrase 清明
之世 ("A bright and enlightened era") from the Book of the Later Han, and the name of
the painting was meant to be ironic
, http://factsanddetails.com/china/cat2/4sub9/entry-5478.html#chapter-13
‘Microcosm of life in china at the time’
Another Qing era handscroll “represents a collaborative effort on the part of five Painting
Academy artists active in the eighteenth century at the Qing court of the Qianlong emperor. The
figural scenes are especially numerous and detailed, making this painting stand out among the
various versions of "Along the River During the Qingming Festival." This scroll can be divided
into several major parts, including the rustic setting at the beginning (on the right), arched bridge
and market, city wall and surroundings, and Lake Jinming. In addition to the bustling figures and
packed shops, there are also untrammeled literati garden settings and a magnificent imperial
garden, creating for a fascinating and visually pleasing atmosphere that makes this painting a
microcosm of life in China at the time. The architectural elements accord with the rules of
perspective, and the buildings and streets are all laid out in an orderly fashion, the use of
proportion and distance likewise meticulously handled with great precision. Western-style
architecture is also evident. The handling of brush and ink is highly refined and the coloring
beautiful, making this the finest of all the "Along the River During the Qingming Festival" scrolls in
the National Palace Museum collection.
“Shen Yuan's composition and arrangement of the scenes in this painting are almost identical to
those in the Qing dynasty court version of "Along the River During the Qingming Festival." It
differs only in terms of certain details, such as the scene of crying by the grave during tomb
sweeping near the beginning of the rustic scene at the right and the inclusion of an inn and
shops by the side of the arched bridge in the middle part. There are also some discrepancies in
terms of the shop names as well as the structure and painting method of the architecture, the
arrangement of the garden scene in the top-scholar's mansion likewise slightly different. This
scroll is done on paper and mostly in ink with only a few washes of ochre added to the outlines of
the figures and buildings to give it a fresh and elegant manner. The rendering of the bridge
beams, buildings, and figures is exceptionally precise and orderly, making this a fine example
from the Painting Academy of the Qing dynasty court.
file:///C:/Users/Huma%20Hasan/Downloads/ubc_2013_spring_chang_su-chen.pdf
flourishing city as a symbol of a great empire
The literary tradition of city authors usually rendered a thriving city as the embodiment of times of
prosperity and used it as a synecdoche to represent a great empire, which probably also influenced
scholars’ interpretation of the Qingming scroll
3 In the Ming and Qing dynasties, many authors of prose poems and writings on cities also
considered that prosperous markets and commonplace enjoyments represented the glory of an
empire,244 which apparently was also the attitude of viewers toward the popular Qingming scroll
The Qingming scrolls since the Song dynasty, by contrast, contain more scenes of ordinary people’s
lives and pleasures
the painters of popular Qingming incorporated these two ideals—the rural idyll and urban utopia—
into their scrolls, though the urban environment was most prominent.246 I will show that Qingming
painters of different times and places tended to perpetuate the image of rural life in its traditional
pattern, but adjusted their versions of an urban ideal by extracting and selecting the ever changing
and better parts of city life of the Ming-Qing period.
