European Influence on the Qing Imperial Workshops

NOTES 1 Transactions of the Oriental Ceramic So– ciety, Volume 34, pp. 51-67. "Missionary-artists at the Manchu CourC', a paper read by Mr. George Loehr on 12 June, 1963. t John Bell. A Journey from St. Petersburg to Pekin, 1719-1722. Edin– burgh University Press, 1965. 3 Stumpff is a South Genuan name, as is Kilian (St. Kilian was the first Bishop of Wurzburg). It may not be fanciful to suggest that Stumpff knew of the pro– duction of glass in Bohemia, and perhaps some details of its manufacture. 4 M. Ripa, Ms. Dairy 1716, Archivum Ar– chidioecesis de Hankow in Sinis, Sectio A, Rome. "His majesty having become fascinated by our European enamel and by the new method of enamel painting, tried by every possible means to introduce the latter into his imperial workshops which he had set up for this purpose within the Palace. " S M. Ripa, Ms. Dairy 1716, English trans– lations, Chapter X, p. 54. "I however took courage at observing that all the other painters, to the number of seven or eight, painted nothing but landscapes with Chinese houses, the Emperor car– ing but little for pictures of figures, as I was afterwards informed.. " 8 Porcela.in ofthe National Palace Museum. Fine enamelled. ware of the Ch'ing Dynasty. Ch'ien·IWlg period, Book I, Plates 19-22. Porcelain ofthe National Palace Museum. Fine enamelled. ware of the Ch'ing Dynasty. Ch'ien-lung pericxl, Book II, PIa'" 56. Figs. 9 and 10. Box and cover, painted– enamel on porcelain, the base painted in blue enamel with the four character mark Ch'ien-lung nien chih within a double square. Peking palace workshops, 1736– 1795. 29