Photography Copper Etching on Paper – Original Eastern Gate vrata to Xianfa Hillin the Old Summer Palace
A black-and-white photograph showing a printed image of the original Huanghuazhen 黃花陣 labyrinth in the section of the Old Summer Palace (Yuanmingyuan 圓明園) in Beijing called the “European Pavilions” (Xiyanglou 西洋楼). It was designed by the Jesuit Giuseppe Castiglione (1688–1766).
It is the nintheenth in a series of twenty engravings commissioned in 1783 by Emperor Qianlong (reigned 1735–1796) and printed three years later. The prints, gathered in the series Twenty Views of European Pavilions in the Old Summer Palace, were designed and probably produced by the court artist Yi Lantai 伊兰泰 (1749–1786), who was trained by the Jesuit painter and court artist Giuseppe Castiglione (1688–1766). The inscription in the upper right-hand corner states that this is the nineteenth image in the album, showing the eastern gate to the man-made mountain Xianfa (Xianfashan 線法山).
The photograph is the 333rd of 449 photographs of Beijing and its ... more
A black-and-white photograph showing a printed image of the original Huanghuazhen 黃花陣 labyrinth in the section of the Old Summer Palace (Yuanmingyuan 圓明園) in Beijing called the “European Pavilions” (Xiyanglou 西洋楼). It was designed by the Jesuit Giuseppe Castiglione (1688–1766).
It is the nintheenth in a series of twenty engravings commissioned in 1783 by Emperor Qianlong (reigned 1735–1796) and printed three years later. The prints, gathered in the series Twenty Views of European Pavilions in the Old Summer Palace, were designed and probably produced by the court artist Yi Lantai 伊兰泰 (1749–1786), who was trained by the Jesuit painter and court artist Giuseppe Castiglione (1688–1766). The inscription in the upper right-hand corner states that this is the nineteenth image in the album, showing the eastern gate to the man-made mountain Xianfa (Xianfashan 線法山).
The photograph is the 333rd of 449 photographs of Beijing and its surroundings in the album of Ivan Skušek Jr., purchased during his stay in Beijing (1914–1920). In the handwritten inventory of the album, the photograph is referred to as Yüen-Ming-Yüen: Prunktor (nach Original-Bild). (DZ, MV)
Do you have a comment or additional information about the subject?