Isbn: 9781606064740 - the shining inheritance: italian painters at the qing court, 1699-1812 (21 risultati)

Condizione: very_good. The dust jacket is missing.

Hardcover. Condizione: new. Hardcover. 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, 16991812, 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 (16881766), and Giuseppe Panzi (17341812) to work within the Chinese cultural sphere from 1699, when Gherardini arrived in China, to 1812, the year of Panzis 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 painters 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. Musillos subtle analysis offers a compelling methodological model for an increasingly global field of art history. "During Qing dynasty China, a series of Italian artists was hired through the Jesuit missionary network to work for the Qing Imperial Workshops in Beijing. In The Shining Inheritance: Italian Painters at the Qing Court, 1699-1812, Marco Musillo describes the professional adaptations and pictorial modifications to Chinese traditions that allowed 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, the year of Gherardini's arrival 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 artist's levels 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 dogmas 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."--ECIP data view. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.…

Condizione: New. Brand New.

Condizione: New. Num Pages: 192 pages. BIC Classification: 1DST; 1FPC; 3JF; ACQ. Category: (P) Professional & Vocational. Dimension: 204 x 276 x 21. Weight in Grams: 950. . 2016. 1st Edition. Hardcover. . . . .

HRD. Condizione: New. New Book. Shipped from UK. Established seller since 2000.

Condizione: New.

Condizione: new.

Hardback. Condizione: New. 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.…

Condizione: New. pp. 192.

Condizione: As New. Unread book in perfect condition.

Condizione: New. Num Pages: 192 pages. BIC Classification: 1DST; 1FPC; 3JF; ACQ. Category: (P) Professional & Vocational. Dimension: 204 x 276 x 21. Weight in Grams: 950. . 2016. 1st Edition. Hardcover. . . . . Books ship from the US and Ireland.

Hardcover. Condizione: Brand New. 1st edition. 192 pages. 10.50x7.75x1.00 inches. In Stock.

Condizione: New. In English.

Condizione: New.

Condizione: New. pp. 192.

Condizione: As New. Unread book in perfect condition.

Hardback. Condizione: New. New copy - Usually dispatched within 4 working days.

Hardcover. Condizione: new. Hardcover. 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, 16991812, 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 (16881766), and Giuseppe Panzi (17341812) to work within the Chinese cultural sphere from 1699, when Gherardini arrived in China, to 1812, the year of Panzis 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 painters 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. Musillos subtle analysis offers a compelling methodological model for an increasingly global field of art history. "During Qing dynasty China, a series of Italian artists was hired through the Jesuit missionary network to work for the Qing Imperial Workshops in Beijing. In The Shining Inheritance: Italian Painters at the Qing Court, 1699-1812, Marco Musillo describes the professional adaptations and pictorial modifications to Chinese traditions that allowed 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, the year of Gherardini's arrival 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 artist's levels 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 dogmas 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."--ECIP data view. Shipping may be from our Sydney, NSW warehouse or from our UK or US warehouse, depending on stock availability.…

Hardback. Condizione: New. 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.…

Hardcover. Condizione: New.