During Qing dynasty China, Italian artists were hired through Jesuit missionaries by the imperial workshops in Beijing. In The Shining Inheritance: Italian Painters at the Qing Court, 1699–1812, Marco Musillo considers the professional adaptations and pictorial modifications to Chinese traditions that allowed three of these Italian painters — Giovanni Gherardini (1655– ca. 1729), Giuseppe Castiglione (1688–1766), and Giuseppe Panzi (1734–1812) — to work within the Chinese cultural sphere from 1699, when Gherardini arrived in China, to 1812, the year of Panzi’s death. Musillo focuses especially on the long career and influence of Castiglione (whose Chinese name was Lang Shining), who worked in Beijing for more than fifty years. Serving three Qing emperors, he was actively engaged in the pictorial discussions at court. The Shining Inheritance perceptively explores how each painter’s level of professional artistic training affected his understanding, selection, and translation of the Chinese pictorial traditions. Musillo further demonstrates how this East-West artistic exchange challenged the dogma of European universality through a professional dialogue that became part of established workshop routines. The cultural elements, procedures, and artistic languages of both China and Italy were strategically played against each other in negotiating the successes and failures of the Italian painters in Beijing. Musillo’s subtle analysis offers a compelling methodological model for an increasingly global field of art history.
The relationship between East and West remains a topic of burning timeliness, particularly in its political dimension. Yet, we can gain a complete understanding of the current tensions only if we consider them within a broader historical framework, spanning from art to diplomacy, from religion to ethnography. The present volume tackles precisely this complex task, offering its reader a rich mosaic of case studies and scholarly research, relating to the mutual approaches between the Euro-American ‘West’, and the Sino-Japanese ‘East’. In the first part of the book, art historian Marco Musillo uses the depictions of Tartars in fourteenth-century Italian frescoes as the starting point of a trajectory leading to eighteenth-century European literature on China. In the second part, the reader is introduced to two cases of diplomatic encounter, one in sixteenth-century Italy between Japanese subjects and local courts, and the other one between Qing China and twentieth-century United States, in the space of the universal exhibition in St. Louis. Finally, the last section proposes three interconnected art historical explorations: the screen design of Chinese origin in colonial Mexico, Medieval Christian tombstones in China, and early-modern Filipino sacred sculpture.
SHORTLISTED FOR THE CRIME WRITERS' ASSOCIATION INTERNATIONAL DAGGER 2013. Florence, 1965. A man is found murdered, a pair of scissors stuck through his throat. Only one thing is known about him - he was a loan shark, who ruined and blackmailed the vulnerable men and women who would come to him for help. Inspector Bordelli prepares to launch a murder investigation. But the case will be a tough one for him, arousing mixed emotions: the desire for justice conflicting with a deep hostility for the victim. And he is missing his young police sidekick, Piras, who is convalescing at his parents' home in Sardinia. But Piras hasn't been recuperating for long before he too has a mysterious death to deal with . . .
The relationship between East and West remains a topic of burning timeliness, particularly in its political dimension. Yet, we can gain a complete understanding of the current tensions only if we consider them within a broader historical framework, spanning from art to diplomacy, from religion to ethnography. The present volume tackles precisely this complex task, offering its reader a rich mosaic of case studies and scholarly research, relating to the mutual approaches between the Euro-American ‘West’, and the Sino-Japanese ‘East’. In the first part of the book, art historian Marco Musillo uses the depictions of Tartars in fourteenth-century Italian frescoes as the starting point of a trajectory leading to eighteenth-century European literature on China. In the second part, the reader is introduced to two cases of diplomatic encounter, one in sixteenth-century Italy between Japanese subjects and local courts, and the other one between Qing China and twentieth-century United States, in the space of the universal exhibition in St. Louis. Finally, the last section proposes three interconnected art historical explorations: the screen design of Chinese origin in colonial Mexico, Medieval Christian tombstones in China, and early-modern Filipino sacred sculpture.
During Qing dynasty China, Italian artists were hired through Jesuit missionaries by the imperial workshops in Beijing. In The Shining Inheritance: Italian Painters at the Qing Court, 1699–1812, Marco Musillo considers the professional adaptations and pictorial modifications to Chinese traditions that allowed three of these Italian painters — Giovanni Gherardini (1655– ca. 1729), Giuseppe Castiglione (1688–1766), and Giuseppe Panzi (1734–1812) — to work within the Chinese cultural sphere from 1699, when Gherardini arrived in China, to 1812, the year of Panzi’s death. Musillo focuses especially on the long career and influence of Castiglione (whose Chinese name was Lang Shining), who worked in Beijing for more than fifty years. Serving three Qing emperors, he was actively engaged in the pictorial discussions at court. The Shining Inheritance perceptively explores how each painter’s level of professional artistic training affected his understanding, selection, and translation of the Chinese pictorial traditions. Musillo further demonstrates how this East-West artistic exchange challenged the dogma of European universality through a professional dialogue that became part of established workshop routines. The cultural elements, procedures, and artistic languages of both China and Italy were strategically played against each other in negotiating the successes and failures of the Italian painters in Beijing. Musillo’s subtle analysis offers a compelling methodological model for an increasingly global field of art history.
This study reproduces and describes, for the first time, all the maps of China printed in Europe between 1584 and 1735, unravelling the origin of each individual map, their different printing, issues and publication dates.
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