Word: yongzheng
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...loaned pieces are featured in the exhibition "Harmony and Integrity: The Yongzheng Emperor and His Times," and are on show at Taipei's National Palace Museum, www.npm.gov.tw, until Jan. 10, together with two pieces from the Shanghai Museum and 207 from the Taiwan vaults. While one doesn't want to read too much into it, the title's emphasis on unity will resonate with many, and Beijing's decision to have made this particular show the first to which it has lent pieces is probably no accident. Much of the lavish artwork produced under the Qing incorporated the varying artistic...
...that sense, many of the exhibits are exquisitely rendered lessons in national unity. On another, purely aesthetic level, they are a sensation. Yongzheng's reign, from 1723 to 1735, represents one of the highest watermarks of Chinese imperial taste. The exhibition includes snuff bottles, superb vases, translucent agate tableware, elegant copperware and one-off items like a black lacquer hand warmer adorned with a painted landscape, or a copper stand for holding imperial crowns. But most gratifying of all is the fact that these treasures are finally being shared, and not being fought over in a civil...
...show until mid-April: artifacts from ancient dynasties, flowing calligraphy, elaborate scrolls, magnificent dragon-decorated robes, priceless jades and ancestor paintings that represent the most important Confucian value, filial piety. In fact, the subjects of this exhibition are a father, his son and grandson - the Qing Emperors Kangxi, Yongzheng and Qianlong - who ruled the Middle Kingdom for 133 consecutive years and expanded China even beyond its present-day borders. And the trio weren't even Chinese. They were Manchus, hunters and fishers from north of the Great Wall who successfully vanquished the crumbling Ming Dynasty in 1644 and were greeted...
...instance, several seals and a colophon mark Spring's Peaceful Message, a charming double portrait, painted by Castiglione around 1736, of Qianlong and his father. The older man is handing his son a sprig of flowering apricot, symbolizing a peaceful transition of power and wishes for a fruitful reign. Yongzheng did not want his chosen heir to suffer the questions of legitimacy that he did. The Royal Academy exhibition is much more than Qing propaganda, exquisite as it is. There is a large room devoted to literati paintings, some produced by Ming loyalists protesting foreign rule in subtle works that...
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