Keywords: perspective, European painting and art in China, Nadal, Castiglione, court painting, Haixi pai 海西派, Ripa, engraving, copper engraving, technical books, religious art, books and printing, Ricci and religious icons.

Paintings by John Lu Hongnian, Bai Huiqun Bai Geng), Lü Shiyun, Luke Hua Xiaoxian, Francis Gao Ti'an (Tihan), et al. done for the Dept. of Art, Sacred Heart Church : Guang'anmen: Shengxintang meishubu. This album is a digitized archive of the scrolls in the Ricci Institute collection used in the "Icons of the Celestial Kingdom" exhibition.
Photographed and digitized by Kaz Tsuruta. 25 scroll paintings: photos (with CD-ROM .tif images, printed thumbnails, and enlarged details of the artists seals and signatures. 

1. The Annunciation. Silk, Beijing, 1947, John Lu Hongnian. - 2. BETHLEHEM INN. Silk, Bai Huiqun (Bai Geng). 3. ANGEL ANNOUNCING TO THE SHEPHERDS. Silk, 1948, Luke Hua Xiaoxian. 4. NATIVITY (WITH ANGELS). Silk, Beijing, Guang’an Gate, Sacred Heart Church, Luke Hua Xiaoxian. 5. THE NATIVITY (WITH SHEPHERDS). Silk, Beijing Summer 1948, Lü Biyun. 6. THE VISIT OF THE MAGI. Silk, Guang'an Gate,1948, Sacred Heart Church, Luke Hua Xiaoxian. 7. THE HOLY FAMILY (MANGER). Silk, Bai Huiqun (Bai Geng). 8. THE FLIGHT TO EGYPT. Silk, Beijing, Guang'an Gate, Sacred Heart Church, Lü Biyun. 9. HOLY FAMILY (LESSONS). Silk, Beijing, "Painted in the old capital" Bai Huiqun (Bai Geng). 10. JESUS WITH MARTHA AND MARY. Silk, Bai Huiqun (Bai Geng). 11. MOTHER AND CHILD (BANANA TREE). Silk, John Lü Biyun. 12. MOTHER AND CHILD (FLOWER). Silk, Beijing, Bai Huiqun (Bai Geng). 13. MOTHER AND CHILD (SPINNING). Silk, Beijing, Guang'an Gate, Sacred Heart Church, Bai Huiqun (Bai Geng). 14. MOTHER AND CHILD (RECITING LESSON). Silk, Francis Gao Ti'an (Tihan) 15. MOTHER AND CHILD (WRITING). Silk, Beijing, Guang’an Gate, Sacred Heart Church, Bai Huiqun (Bai Geng). 16. MOTHER AND CHILD (WRITING). Silk, Beijing, Guang'an Gate, Sacred Heart Church, Bai Huiqun (Bai Geng). 17. MOTHER AND CHILD (Imitating a famous Ming painting). Silk, Beijing, “Painted in the old capital”, Bai Huiqun (Bai Geng). 18. MOTHER LEANING ON CHILD (PINE TREE). Silk, Beijing, Guang’an Gate, Sacred Heart Church, Luke Hua Xiaoxian. 19. MOTHER AND CHILD (CLOUDS). Silk, Beijing, 1947, John Lu Hongnian. 20. MOTHER AND CHILD (ANGEL, CLOUDS). Silk, Bai Huiqun (Bai Geng). 21. OUR LADY ON THE CRESCENT MOON. Silk, Luke Hua Xiaoxian. 22. OUR LADY (OPEN HANDS). Silk, Luke Hua Xiaoxian. 23. OUR LADY (CLASPED HANDS). Silk, Beijing, Guang’an Gate, Sacred Heart Church, Luke Hua Xiaoxian. 24. OUR LADY (PARROT). Silk, Beijing, Guang’an Gate, Sacred Heart Church, Luke Hua Xiaoxian. 25. TWO LADIES (ONE IS TAKEN, ONE IS LEFT). Silk, Beijing, Guang’an Gate, 1948, Bai Huiqun (Bai Geng).

"One important dimension of Chinese art in the first half of the 20th century was an emphasis on individualism which emerged in the context of nationalist fervor. At the same time, together with an increased exposure to foreign ideas, there was a sense of identification with the culture of the past. These characteristics came together in a Chinese Christian school of painting which arose in Beijing between the two world wars at the Catholic University of Beijing, but lasted only until 1949. The university was founded by American Benedictine monks from Latrobe, Pennsylvania in 1925. Two years later, the Ministry of Education recognized it under the Chinese name Furen, an expression taken from the Analects of Confucius (Book XII, ch.24) which can be translated "promotion of righteousness."
The University had an art department which stressed Chinese traditional painting. By 1943 a separate section of European art had been added. Several faculty members began to paint Christian subjects in Chinese style. They were encouraged by Archbishop Celso Costantini (1876-1958), first Apostolic Delegate of the Vatican to China. He had been a devotee of the arts for many years. Already in 1923, one year after his assignment to China, he had encouraged the development of a distinctive Chinese Christian art. He had four beliefs: Western style art is a style unsuited to China; Western Christian art used in China gives the impression that Christianity is a Western, not universal religion; the Church throughout its history has adopted and adapted local art forms; Chinese art and culture provide many opportunities for adoption and adaptation. In 1937, the first Chinese Catholic Art Exhibit was held at Furen University.

Luke Chen, a prominent leader of the Furen University painters, in describing this Chinese Christian art form said: "I believe that when I paint the wonders of Christianity according to the ancient rules of Chinese art, the painted object exerts an externally new and unusual effect, so that at the same time I enrich to a marked degree, the old rules of Chinese painting."
This observation of Luke Chen rings true. Similar to the icons of the Russian and Greek Churches, Christian paintings in Chinese style inspire a certain sense of divinity and reverence.

The paintings displayed in this exhibit were all painted on silk in Beijing about the 1930s and 1940s. They were brought to France shortly thereafter. In 1992 they were acquired by the Ricci Institute for Chinese-Western Cultural History of the Center for the Pacific Rim at the University of San Francisco. The paintings were mounted on scrolls in Hong Kong through the kindness of the Instituto Cultural de Macau after an exhibit in Macau from November 1994 to January 1995. The Paintings were then displayed at the Missao de Macau in Lisbon from December 1995 to March 1996. Later in 1996 they were exhibited in San Francisco at the Pacific Heritage Museum.
The paintings presented here have as their main subjects Jesus; Mary, the Mother of Jesus; Joseph the husband of Mary and guardian of Jesus. The themes are inspired from the gospels, the basic Christian documents which treat the life and teachings of Jesus, His death and resurrection. The paintings on exhibit are inspired especially by those parts of the gospels which treat the announcement of the coming of Jesus, Son of God from heaven into the world; His birth; His childhood. Only one painting here portrays Jesus as an adult. Some of the paintings of Mary depict her surrounded by clouds to express her special closeness to Heaven.
In other parts of the world, such as Rome, Sankt Augustin (Germany) and Taipei, original paintings from the Furen school can still be found. These also represent episodes from the life of Christ as narrated in the four gospels, and the range of themes is broader.

The paintings were mounted on scrolls in Hong Kong through the kindness of the Instituto Cultural de Macau after an exhibit in Macau from November 1994 to January 1995. The paintings were then displayed at the Missão de Macau in Lisbon from December 1995 to March 1996. Later in 1996 they were exhibited in San Francisco at the Pacific Heritage Museum and at Grace Cathedral. In 1998 they were exhibited at the USF Thacher Gallery, and in 2008 they were shown at the St. Aloysius College in Sydney, Australia, for World Youth Day." -- from the exhibit program by Fr. Edward Malatesta, S.J.

Ō-Bei ni okeru Shina kenkyū 歐米に於はる支那研究 / Ishitamiki nosuke 石田幹の助

"Questo lavoro si propone de esaminare i termini cinesi utilizzati in alcuni testi di teoria della pittura del diciottesimo secolo per tradurre il termine "prospettiva"....I testi che verranno presi in esame sono: Shi xue 視學, Studio della percezione (1729 e 1735) di Nian Xiyao 年希堯 (prima del 1665-1738); Hui shi fa wei 繪事發微, Il mistero della pittura (1717) di Tang Dai 唐柋 (1661-dopo il 1752) e Xiao Shan hua pu 小山畫譜 , Manuale di pittura di Xiao Shan (c. 1756) di Zou Yigui 鄒一桂 (1686-1772)."—Introduzione.

Words for images and images for words: an iconological and scriptural study of the Christian prints in the Chengshi moyuan 程氏墨苑 / Rui Oliveira Lopes.
Extract from: Word & Image, 33:1, 87-107, DOI: 10.1080/02666286.2016.1263137
See note in record for Chengshi moyuan 程氏墨苑.

Local access dig.pdf. [Lopes-Chengshi moyan.pdf]

Abstract: The early seventeenth century is noted for the fruitful cultural, religious, and artistic exchange between Europe and the Chinese imperial court. The missionaries of the Society of Jesus (Societas Iesu) became a prominent bridge connecting the two distinct cultures, where the main differences were, at the same time, the reason for their mutual allure. At that time, Jesuit priests, such as Matteo Ricci (1552–1610), João da Rocha (1587–1639), and Giulio Aleni (1582–1649), contributed significantly not only to the dissemination of Christianity in Beijing, Nanjing, and other important cities beyond the Portuguese administration of Macau, but also to the transmission of Western knowledge and technology. Along with the flow of goods and rare commodities brought from Europe which overwhelmed the Chinese emperors of the late Ming and High Qing courts, Western art was introduced into China as a synthesis of visual science, artistic sophistication, and eloquence, explaining why it became so valuable, particularly during the time of the three Qing emperors, Kangxi (1654– 1722), Yongzheng (1678–1735), and Qianlong (1711–99). The modus operandi in the apostolic ministry of the Society of Jesus around the world is well known for the use of images as a visual explanation of Christian doctrine, particularly in China, India, and Japan. The Spiritual Exercises of Ignatius of Loyola (Exercitia Spiritualia), composed between 1522 and 1524, suggests that the images should be referred to as a reflection on the word, demonstrating the complementary function between text and images in the explanation of Christian teachings. This article discusses the agency of one of the earliest sets of European prints used in the context of the Jesuit mission in China as a visual explanation of biblical teachings. By means of iconographic examination and iconological approach, it examines how Christian prints included in the Chengshi moyuan 程氏墨苑 (The Ink Garden of Mr. Cheng) were used as a visual reasoning of the scriptures, demonstrating that the three biblical prints were linked to each other and purposely put together as a result of a doctrinal program.

Keywords: European prints in China, artistic exchange, Jesuits in China, Matteo Ricci, Chengshi moyuan, Ming dynasty, spiritual exercises

Yesuhui yu Mingmo Jidujiao yishu 耶穌會與明末基督教藝術 = The society of Jesus and Christian art in the late Ming dynasty / Qu Yi 曲藝

【內容介紹】

誕生於十六世紀的耶穌會，善於運用藝術形式維護天主教傳統，開創了歐洲的巴洛克藝術。隨著十六世紀下半葉耶穌會士陸續來華，大量西方油畫、雕塑、銅版畫與聖像藝術傳入中土，這些承載著傳教使命的藝術品，悄然開啟了中西視覺對話的新篇章。

本書聚焦晚明時期《誦念珠規程》《天主降生出像經解》兩部典籍中的版畫作品及相關聖像複製品。這些圖像雖以歐洲銅版畫為藍本，卻並未亦步亦趨，而是採取了一種「適應化」的方式，將基督教題材創造性地改編成符合中國繪畫傳統的面貌，完美呈現了中西文化交流與融合的生動例證。

【目錄】

序一
序二
前言
第一章 成書背景
1. 耶穌會
2.《誦念珠規程》與《天主降生出像經解》的歐洲範本
《福音故事圖集》（Evangelicae historiae imagines）
第二章 《誦念珠規程》
1. 版本
2. 構成
3. 製作者
4. 兩個版本的佈局
4.1 耶穌會檔案本（Jap.Sin. I, 43b）
4.2 義大利羅馬國立中央圖書館本（Fondo Gesuitico 72.B. 298）
5. 《誦念珠規程》的15幅插圖
5.1 建築與室內空間
5.1.1 中式的室內空間
插圖1 歡喜一端－“聖母領報”
插圖2 歡喜二端—“聖母訪親”
插圖11 榮福一端—“耶穌復活”
插圖14 榮福四端—“聖母蒙召升天”
5.1.2 西式的室內空間
插圖4 歡喜四端—“聖母獻耶穌於聖殿”
插圖5 歡喜五端—“耶穌十二齡講道”
5.1.3 背景中的建築
插圖3 歡喜三端—“耶穌基督誕生”
插圖6 痛苦一端—“耶穌山園禱告”
關於背景中建築的小結
5.1.4 建築描繪的詮釋
5.2 風景描繪
5.2.1 中式山水
插圖6 痛苦一端—“耶穌山園禱告”
插圖3 歡喜一端——“耶穌基督誕生”，插圖10 痛苦五端——“耶穌十字架上受難”，插圖11 榮福一端——“耶穌復活”
5.2.2 中式構圖的背景
插圖10 痛苦五端——“耶穌十字架上受難”，插圖12 榮福二端——“耶穌升天”
5.2.3 風景描繪的詮釋
5.3 人物描繪
5.3.1 耶穌基督
5.3.2 聖母瑪利亞
5.3.3 天使
5.3.4 死亡的象徵－骷髏
6. 小結
7. 德禮賢神父與明末基督教版畫藝術
第三章 《天主降生出像經解》
1. 出版者——艾儒略
2. 15個本子
3. 版式和範本
3.1 《天主降生出像經解》與《福音故事圖集》
3.2 《天主降生出像經解》與《天主降生言行紀略》
3.2.1 《天主降生言行紀略》

3.2.2 《天主降生出像經解》與《天主降生言行紀略》
4. 書名
5. 插圖主題的選擇
5.1 超自然受孕、歡慶的降生和非凡的童年
5.1.1 超自然受孕
5.1.2 歡慶的降生
5.1.3 非凡的童年
5.2 神蹟－治病救人和使人從死裡復活
5.3 耶穌受難、復活、升天
5.4 聖母瑪利亞升天和加冕
6. 插圖的基本情況
6.1 根據其他範本製作的插圖
6.1.1 耶路撒冷地圖
6.1.2 救世主像
6.2 改變西方範本的插圖
6.2.1 改變插圖主題—“聖若翰先天主而孕”
6.2.2 增加屏風母題－“濯足垂訓”
6.2.3 增加「狗」的母題－「立聖體大禮」
6.2.4 增加圖案元素－“赦悔罪婦”“貧善富惡死後殊報”“濯足垂訓”“立聖體大禮”
6.2.5 增加牆磚、地磚元素－空間透視（spatial perspective）
6.2.6 保留與刪減的陰影排線－明暗法（chiaroscuro）
6.3 合併構圖的插圖
6.3.1 “耶穌四旬期嚴齋期退魔誘”
6.3.2 “西加汲水化眾”
6.3.3 “伯大尼亞邑起死者於墓”
6.3.4 “文武二仕殮葬耶穌”
6.3.5 “聖母卒葬三日復活升天”
6.3.6 “聖母端冕居諸神聖之上”
6.3.7 “耶穌十字架上受難時景圖”
6.4 繼承西方範本的共時畫
6.4.1 雲中的圖中圖
6.4.2 窗戶、門、圓形飾品內的圖中圖
6.4.3 建築物與風景劃分的場景
7. 插圖的分析
7.1 適宜性
7.2 圖像敘事特徵
7.2.1 歐洲的共時畫
7.2.2 中國的共時畫
同發式構圖
重複母題
山水、雲彩等母題分割情節
圖框中的共時畫
斷崖式構圖
7.2.3 中西共時畫空間比較
7.3 耶穌會的記憶術和「場所建構」（compositio loci）
7.3.1 利瑪竇的《西國記法》與西方古典記憶術
7.3.2 依納爵的《神操》與“場所建構”
7.3.3 《福音故事圖集》的“場所建構”
7.3.4 《天主降生出像經解》的「場所建構」與記憶、默想
8. 小結

第四章 明末天主教聖像及其傳播與接受
1. 明末文獻中的天主聖像
2. 現存聖母子像
2.1 元代揚州墓碑
2.2 “中國聖母像”
2.3 《程氏墨苑》“天主圖”
2.4 《東夷圖像》“豚圖”
2.5 《中國圖說》“仁慈聖母像”
3. 明末的“救世主像”
3.1 “天主降生聖像”
3.2 “天地總歸一主像”
4. 中國人對聖像的反應
5. 小結
第五章 結論
參考文獻
附錄一：北京版《誦念珠規程》引言
附錄二：《誦念珠規程》文本
附錄三：《天主降生出像經解引》
附錄四：《天主降生出像經解》插畫錄文
附錄五：《天主降生出像經解》各版本插圖及排序
致謝