COLLECTION NAME:
The AMICA Library
mediaCollectionId
AMICO~1~1
The AMICA Library
Collection
true
AMICA ID:
CMA_.1998.103.1
amicoid
CMA_.1998.103.1
AMICA ID
false
AMICA Library Year:
2001
aly
2001
AMICA Library Year
false
Object Type:
Prints
oty
Prints
Object Type
false
Creator Name:
Castiglione, Giuseppe
crn
Castiglione, Giuseppe
Creator Name
false
Creator Nationality:
European; Southern European; Italian
crc
European; Southern European; Italian
Creator Nationality
false
Creator Role:
artist
crr
artist
Creator Role
false
Creator Dates/Places:
1688 - 1766
cdt
1688 - 1766
Creator Dates/Places
false
Gender:
M
cgn
M
Gender
false
Creator Birth Place:
Milan
cbp
Milan
Creator Birth Place
false
Creator Name-CRT:
Giuseppe Castiglione
crt
Giuseppe Castiglione
Creator Name-CRT
false
Title:
Receiving Surrender from the Eli: from Battle Scenes of the Quelling of Rebellions in the Western Regions, with Imperial Poems
otn
Receiving Surrender from the Eli: from Battle Scenes of the Quelling of Rebellions in the Western Regions, with Imperial Poems
Title
false
Title Type:
Primary
ott
Primary
Title Type
false
View:
Full View
rid
Full View
View
false
Creation Date:
c. 1765-1774
oct
c. 1765-1774
Creation Date
false
Creation Start Date:
1765
ocs
1765
Creation Start Date
false
Creation End Date:
1774
oce
1774
Creation End Date
false
Materials and Techniques:
etching, mounted in album form, 16 leaves plus two additional leaves of inscriptions
omd
etching, mounted in album form, 16 leaves plus two additional leaves of inscriptions
Materials and Techniques
false
Dimensions:
Overall: 51cm x 87cm
met
Overall: 51cm x 87cm
Dimensions
false
AMICA Contributor:
The Cleveland Museum of Art
oon
The Cleveland Museum of Art
AMICA Contributor
false
Owner Location:
Cleveland, Ohio, USA
oop
Cleveland, Ohio, USA
Owner Location
false
ID Number:
1998.103.1
ooa
1998.103.1
ID Number
false
Credit Line:
John L. Severance Fund
ooc
John L. Severance Fund
Credit Line
false
Rights:
orl
<a href="http://www.clemusart.com/museum/disclaim2.html"target="_new">http://www.clemusart.com/museum/disclaim2.html</a>
Rights
false
Context:
This set of prints was commissioned by the Chinese Qing dynasty Emperor Qianlong (ruled 1735?1796) to commemorate his army's suppression of the rebellions in China's Western Regions (modern Xingjiang pro-vince; also known as "Central Asia"). To each image, Qianlong added his own poem, indicating his apprec-iation and his pride in his military might. The emperor asked four Jesuit priests working at the Chinese court's art academy to depict the 16 scenes. Acknowledging the Western artists' ability to record the reality of events and the actions of figures, the request may also have been intended to make China's military strength known to the West. The prints are based on drawings that were made in China and then sent to France for etching and printing. The completed prints, a total of 200 sets, were sent back to China between 1772 and 1774. The calligraphy was added by means of woodblock printing.Qianlong asked four Jesuit priests working at the Chinese court's art academy to depict the 16 scenes. Acknowledging the Western artists' ability to record the reality of events and the actions of figures, the request may also have been intended to make China's military strength known to the West. The prints are based on drawings that were made in China and then sent to France for etching and printing. The com-pleted prints, a total of 200 sets, were sent back to China between 1772 and 1774. The calligraphy was added by means of woodblock printing.
cxd
This set of prints was commissioned by the Chinese Qing dynasty Emperor Qianlong (ruled 1735?1796) to commemorate his army's suppression of the rebellions in China's Western Regions (modern Xingjiang pro-vince; also known as "Central Asia"). To each image, Qianlong added his own poem, indicating his apprec-iation and his pride in his military might. The emperor asked four Jesuit priests working at the Chinese court's art academy to depict the 16 scenes. Acknowledging the Western artists' ability to record the reality of events and the actions of figures, the request may also have been intended to make China's military strength known to the West. The prints are based on drawings that were made in China and then sent to France for etching and printing. The completed prints, a total of 200 sets, were sent back to China between 1772 and 1774. The calligraphy was added by means of woodblock printing.Qianlong asked four Jesuit priests working at the Chinese court's art academy to depict the 16 scenes. Acknowledging the Western artists' ability to record the reality of events and the actions of figures, the request may also have been intended to make China's military strength known to the West. The prints are based on drawings that were made in China and then sent to France for etching and printing. The com-pleted prints, a total of 200 sets, were sent back to China between 1772 and 1774. The calligraphy was added by means of woodblock printing.
Context
false
Related Image Identifier Link:
CMA_.1998.103.1.tif
ril
CMA_.1998.103.1.tif
Related Image Identifier Link
false