L'introduzione della prospettiva in Cina: Buglio, Ricci, Sambiaso, Gherardini--Capitolo Primo: L'autore Nian Xiyao. Eclettismo e curiositá -- Importanza della figura de Nian Xiyao -- Splendeurs et misères de Nian Gengyao -- Il periodo de auge: 1726-1735 -- Nian Xiyao Soprintendente alla manifattura de Jingdezhen -- Nian Xiyao e il Figurismo de Jean-François Foucquet, S.I. -- Opere de trigonometria e i "piedi di Urania" -- Capitolo secondo: Il testo: Shi xue o Studio della percezione -- Perspectiva Pictorum et Architectorum e Shi xue -- Shi xue nelle collezioni europee -- Contenuto delle due Prefazioni -- Zou Yigui -- Tang Dai -- Capitolo terzo: Termini cinesi utillizati come sinonimo di prospettiva -- Il metodo delle linee (線法) -- metodo dei triangoli rettangoli (句股法)-- metodo dei pieni e dei vuoti (凹凸法) -- Shen Gua e l'arte di sommare cose piccole (造微之術) : ovvero l'alternativa cinese alla prospettiva -- Appendice: Traduzione del testo delle due Prefazioni, Testo originale delle Prefazione, Selezione di brani da Shixue.
Includes bibliographical references: p. 134-164.

La fábrica de las ilusiones : los jesuitas y la difusión de la perspectiva lineal en China (1698-1766) / Elisabetta Corsi.
Spanish and Chinese.
Contains passages and facsimile pages from the Shixue 視學, the Chinese translation of the Perspectiva pictorum et architectorum.
Includes bibliographical references (p. 205-229) and index.

Haiguo bolan : Qingdai gongting Xiyang chuanjiaoshi huashi huihua liupai gaishuo 海國波瀾 : 清代宮廷西洋傳敎士畫師繪畫流派槪說 = Exílio dourado : estudos gerais sobre a escola de pintura dos missionários ocidentais da corte da Dinastia Qing = The golden exile : survey of the western missionaries' painting school of the Qing Dynasty court / [zhubian Chen Haoxing 主编陳浩星 ; Minzheng zongshu , Aomen yishu bowug uan zhizuo 民政總署, 澳門藝術博物館製作].
附參考文獻.
中葡英文對照.
Accompanies larger catalog.

Haiguo bolan : Qingdai gongting Xiyang chuanjiaoshi huashi huihua liupai jingpin 海國波瀾 : 清代宮廷西洋傳敎士畫師繪畫流派精品 = Exílio dourado : expressoẽs pictóricas da escola dos missionários ocidentais obras de arte da corte da dinastia Qing = The golden exile : pictorial expressions of the school of Western missionaries' artworks of the Qing dynasty court / [zhubian Chen Haoxing ; Aomen yishu bowuguan zhizuo 主編陳浩星 ; 澳門藝術博物館製作].
Catalog of an exhibition held in Macau, February 2002 (In Chinese, Portuguese, and English).

Contents: Qingdai gongting huihua zhidu tanwei 清代宮廷繪畫制度探微 : Tratado sobre o sistema de pinturas de corte na Dinastia Qing : A Treatise on the system of court paintings in the Qing Dynasty -- Lang Shining de fei chenzikuan hua 郎世寧的非臣字款畫 : Pinturas de Lang Shining sem assinatura de dedicatoria Imperial : Paintings by Lang Shining without signature for Imperial dedication / Nie Chongzheng 聶崇正 -- Qinggong renwuhua de ziranzhuyi quxiang 清宮人物畫的自然主義趨向 : Tendencias naturalistas nos retratos Imperiais Qing : Naturalistic trend of the Qing Imperial portraiture / Yu Hui 余輝 -- Xiyang chuanjiaoshi huashi yu Qingdai gongting jianzhu huihua 西洋傳教士畫師與清代宮廷建築繪畫 : Pintores missionarios ocidentaise as pinturas arquitectonicas imperiais da Dinastia Qing : Western missionary painters and Imperial architectural paintings of the Qing Dynasty / Fu Dongguang 傅東光 -- Wu Yushan de chuanshi jiazuo 吳漁山的傳世佳作 : As obras-primas de Wu Li : On some of the extant masterpieces by Wu Li / Zhang Wenqin 章文欽 -- Lang Shining, Wang Zhicheng, Ai Qimeng zai Beijing de wenwu yicun 郎世寧, 王致誠, 艾啟蒙在北京的文物遺存 : Tumulos e monumentos de Lang Shining, Wang Zhicheng e Ai Qimeng em Pequim : Relics and memorials of Lang Shining, Wang Zhicheng, and Ai Qimeng in Beijing / Wu Menglin 吳夢麟 -- Ming-Qing zhi ji de Aomen: Chuanjiaoshi jinru Zhongguo zui zhongyao qudao 明清之際的澳門: 傳教士進入中國最重要渠道 : A porta de entrada dos missionarios na China: Macau nos finais da dinastia Ming e inicios da dinastia Qing : Macao in the Ming and Qing Dynasties: the missionaries main gateway to China --Aomen shi Xiyang meishu chuanru Zhongguo de faxiangdi 澳門是西洋美術傳入中國的發祥地 : Macau : Berco da arte ocidental na China : Macao, the originating course of the introduction of Western aesthetics into China --Ming-Qing zhi jijing Aomen jinru Zhongguo neidi Xiyang huajia gouchen 明清之際經澳門進入中國內地西洋畫家鉤沉 : Pintores Ocidentais vindos de Macau para a China durante as Dinastias Ming e Qing : Western painters entering China through Macao during the Ming and Qing Dynasties / Tang Kaijian 湯開建 -- 年表 : Cronologia da pintura de corte na Dinastia Qing e acontecimentos relacionados: Chronology of court paintings in the Qing Dynasty and related events.

"The influx of missionaries to China began after the European Reformation, with Macau serving as an initial stopover point.....during the late Ming and early Qing...missionaries brought with them Western science, culture and art. In 1715 (54th year of Kangxi's reign) Giuseppe Castiglione worked in the imperial palace .... and won the adminration of Kangxi, Yongzhen and Qianlong. Jean-Denis Attiret, Ignaz Sichelbarth, Louis de Poirot, Giuseppe Panzi and others followed, serving as missionary painters in the Qing imperial court. The integration of Western techniques of chiaroscuro and perspective, along with the characteristics of Chinese traditional painting, nurtured a new school of painting in China....a tremendous influence on Chinese painters. The Provisional Municipal Council of Macau....with the Palace Museum exhibition.... coincides with the second anniversary of the return of sovereignty of Macau to China." --prefatory note.
***Graphic resource: horses, architecture, portraits, landscapes.

Local access dig.pdf. [Dong-Jidujiao ciqi.pdf]

"This dissertation closely examines the art and craft workshops at the French-Jesuit-run orphanage of Tushanwan in the first decades of the twentieth-century. Founded in the 1860s, the workshops taught Chinese orphaned boys a wide range of vocational skills from painting to shoemaking in preparation for their entry into adulthood in a rapidly modernizing China. Using different art objects and projects created at the major workshops as my primary subjects of investigation, the dissertation analyzes the transmission, translation, and reinvention of modern Euro-American aesthetic ideologies and techniques at Tushanwan and their receptions. In the process I question the nature and motivation of commercial workshops like Tushanwan beyond the monetary and reframe its practices and operations in terms of the religious, institutional, cultural, and historical legacies of the Jesuits in China. I also expand the global scope of popular late nineteenth- century European aesthetic movements such as the Arts and Crafts by accounting for the reinterpretation of those ideologies within the local context. Through the works and practices from the workshops, I describe a collage of interactions between China and the world united by a sense of common spiritual identity that supposedly transcended national and state boundaries, but instead reified and maintained the heterogeneity of identities."--Abstract.

Local access dig. pdf. [Ma-Tushanwan workshops.pdf]
Restricted access. Author permission required.

During the golden reign of the Qianlong emperor (r. 1736-1795), Chinese and European court artists collaborated to create a new painting genre. Combining imported European pictorial techniques with Chinese subjects and materials, these artists created life-size illusionistic paintings called tongjing hua that offered Qianlong opportunities to connect with the painted scenes. Still hidden inside restricted areas of the Forbidden City, these paintings have received little to no study. But the life-size scale and unsurpassed quality of tongjing hua, produced at the height of Sino-European artistic exchange, offer new insights into the private thoughts of the Qianlong emperor. Through exhaustive research in the imperial archives, original translations of imperial poetry, and studies of other eighteenth-century imperial court paintings, tongjing hua are rediscovered in four case studies. Chapter One provides the historical background of European pictorial presence and illusionistic painting in China. Chapter Two examines the omnipresent theme of illusion in Qianlong's court painting through four versions of his inscribed double portrait One or Two. Chapter Three establishes the conceptual foundations of tongjing hua with the Forbidden City's Juanqin Zhai. Chapter Four examines the Pictures of the European Palaces and Waterworks, an album of twenty engravings that provide a visual record of a now-lost tongjing hua. Chapter Five explores the unstudied Qianlong Watching Peacocks in their Prime, notable for its imperial inscription, and connections to Central Asian tribute relationships and Daoist paradise. Chapter Six presents Portrait of Qianlong's Consort with Yongyan as a Child, an unpublished, unstudied tongjing hua with several unique and unprecedented features.
Individually, these works express Qianlong's private thoughts about his family, identity, and legacy that are absent from his public self-presentation. As a genre, however, tongjing hua not only enable his personal self-expression relative to a lifelong obsession with visual illusion, but also reflect eighteenth-century China's widespread fascination with European pictoriality that is found throughout its visual culture. This dissertation rediscovers these little-known paintings and investigates their perspectival illusions as the consummate illustrations of Qianlong's perspective and the new visuality of late imperial China.--OCLC record (from introduction).
Local access only. [Kleutghen.pdf]

Qing encounters : artistic exchanges between China and the West / ǂc edited by Petra ten-Doesschate Chu and Ning Ding, with Lidy Jane Chu.
Includes bibliographical references and index.

Introduction / Petra ten-Doesschate Chu and Ning Ding -- Part one. Collection and display. Hybrid spaces of encounter in the Qing era / Richard Vinograd -- Frames of appropriation: foreign artifacts on display in early modern Europe and China / Anna Grasskamp -- Global circulations, local transformations: objects and cultural encounter in the eighteenth century / Kristel Smentek -- Encountering magnificence: European silks at the Qing court during the eighteenth century / Mei Mei Rado -- Part two. Knowledge and information exchange between China and the west. Henri Bertin and the commerce in images between France and China in the late eighteenth century / John Finlay -- Vegetal travel: western European plants in the garden of the Emperor of China / Che-Bing Chiu -- Nineteenth-century canton gardens and the east-west plant trade / Yuen Lai Winnie Chan -- Imperial impressions: the Qianlong emperor's print suites / Marcia Reed -- Part three. Modes and meanings of (adopted) techniques of representation. Hatchings in the void: ritual and order in Bishu Shanzhuang Shi and Matteo Ripa's Views of Jehol / Yue Zhuang -- War and empire: images of battle during the Qianlong reign / Ya-Chen Ma -- From science to art: the evolution of linear perspective in eighteenth-century Chinese art / Kristina Kleutghen -- Shadows in Chinese art: and intercultural perspective / Lihong Liu -- Part four. Chinoiserie, Européenerie, hybridity. Narrating the city: Pu Qua and the depiction of street life in Canton / Yeewan Koon -- Chinoiserie and intercultural dialogue at Brighton pavilion / Greg M. Thomas -- Surface contact: decoration in the Chinese taste / Stacey Sloboda -- Betwixt and between: "Chinese taste" in Peter the Great's Russia / Jennifer Milam.

"Qing Encounters: Artistic Exchanges between China and the West examines how the encounters between China and Europe in the eighteenth and early nineteenth centuries transformed the arts on both sides of the East-West divide. These essays reveal how trading and copying images, artifacts, and natural specimens inflected both cultures' visions of novelty and pleasure, battle and power, and ways of seeing and representing. Artists and craftspeople borrowed and adapted forms, techniques, and modes of representation, producing deliberate, meaningful, and complex hybrid creations. By considering this reciprocity from both Eastern and Western perspectives, Qing Encounters offers a new and nuanced understanding of this critical period"--Page 4 of cover.

Another copy Gleeson Library.

Note: The Shixue 視學 is partially based on a translation of the Perspectiva pictorum et architectorum. Gu Weimin estimates about 20% derives from Pozzo's text, with the remaining sources unknown. Cf. Elisabetta Corsi, La fábrica de las ilusiones. Also see Gu Weimin, Jidu zongjiao yishu zai Hua fazhanshi 基督宗教藝術在華發展史.
Local access [NianXiyao.pdf]

"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.