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    Departing the Imperial Guard Scroll (出警图卷)

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    Departing the Imperial Guard Scroll (出警图卷)

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    The Departing the Imperial Guard Scroll (出警图卷), a late 16th-century Ming Dynasty masterpiece, captures Emperor Wanli’s grand procession to the Ming tombs near Beijing. Measuring approximately 40 cm × 1,500 cm, this silk scroll—paired with its companion Entering the Imperial Guard Scroll (入跸图)—combines meticulous gongbi brushwork with imperial propaganda. It depicts over 1,000 figures in strict military formation, traversing 45 km from Desheng Gate to Tianshou Mountain, with Wanli centrally portrayed in golden dragon-armor astride a black stallion. Seasonal motifs like peach blossoms evoke Qingming tomb-sweeping rituals, while compositional techniques like ‘scattered perspective’ guide viewers through the ceremonial journey. Created anonymously by Beijing’s imperial workshops, the scroll blends historical accuracy (aligned with Wanli’s Daily Records) with symbolic grandeur, reflecting Ming multiculturalism through Central Asian horse trappings and Han ceremonial flags. Now housed in Taipei’s National Palace Museum, it stands as both a documentary record and a choreographed assertion of dynastic power, contrasting with later Qing scrolls that prioritized landscape spectacle over ritual precision.

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    Entering the Imperial Guard Scroll入跸图卷

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    Entering the Imperial Guard Scroll入跸图卷

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    The Entering the Imperial Guard Scroll (入跸图卷), a late 16th-century Ming Dynasty masterpiece, documents Emperor Wanli’s ceremonial return via waterways from the imperial tombs to Beijing. Measuring 92.1 cm × 3,003.6 cm, this monumental silk scroll—paired with its companion Departing the Imperial Guard Scroll (出警图)—showcases meticulous gongbi brushwork, depicting over 900 guards and attendants in strict hierarchical formation. Key landmarks like Gaoliang Bridge and Xizhimen Gate anchor the narrative, while peach blossoms symbolizing spring renewal align with Qingming tomb-sweeping rituals. Wanli, centrally portrayed on a dragon-prowed vessel with an enlarged face and golden robes, embodies divine authority, his identity confirmed by cross-referencing Wanli’s Daily Records. Contrasting with Qing scrolls’ landscape focus, this work emphasizes ritual precision, blending mineral pigments and ‘scattered perspective’ to merge historical documentation with imperial propaganda. Housed in Taipei’s National Palace Museum, it epitomizes Ming court artistry and the theatrics of dynastic power.

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    Export Paintings from the Imperial Court A Qing Dynasty Visual Encyclopedia for Emperor Franz I of Austria（Scroll）奥地利国家图书馆藏外销画

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    Export Paintings from the Imperial Court A Qing Dynasty Visual Encyclopedia for Emperor Franz I of Austria（Scroll）奥地利国家图书馆藏外销画

    (0) $42.00 原价为：$42.00。$21.00当前价格为：$21.00。

    Austrian National Library’s 14-volume China Trade Paintings (1821) offer a vivid visual encyclopedia of Qing Dynasty life, commissioned for Emperor Franz I. These gouache albums blend Chinese artistry with Western documentary precision, depicting imperial rituals, porcelain production, urban trades, flora/fauna, and maritime scenes. Created in Guangzhou during the Canton System era, they served as both diplomatic gifts and scientific records, reflecting Europe’s fascination with Chinese culture while showcasing hybrid artistic techniques. The collection remains a benchmark for cross-cultural exchange in pre-modern global art history.

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    Farewell of Su Wu and Li Ling（Scroll）苏李别意图卷

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    Farewell of Su Wu and Li Ling（Scroll）苏李别意图卷

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    Zhou Wenju’s Farewell of Su Wu and Li Ling (《苏李别意图卷》)

    This 10th-century silk handscroll by ​Zhou Wenju (周文矩), a Southern Tang court painter, immortalizes the emotional parting of ​Su Wu (苏武) and ​Li Ling (李陵) against a desolate northern wilderness. Measuring 33.3 × 89.9 cm and housed in Taipei’s National Palace Museum, the work blends historical narrative with artistic mastery.

    Historical Context
    The painting captures a pivotal moment from Han Dynasty history: Su Wu, exiled for 19 years as a Xiongnu captive yet unyielding in loyalty, finally returns to China, while Li Ling, a disgraced general who surrendered after his family’s execution, bids him a guilt-ridden farewell. Their clasped hands and tearful faces, set against icy plains and shivering attendants, symbolize the clash between steadfast integrity and tragic compromise.

    Artistic Features

    • ​Composition: Central figures Su (in white) and Li (in red) are flanked by Li’s attendants and Su’s sheep, framed by barren trees and snow-laden winds. Horses depicted from multiple angles showcase Zhou’s mastery of form.
    • ​Technique: Zhou’s signature “trembling brushwork” (颤笔) adds rhythmic dynamism to robes and landscapes, while pale blues and muted ochers evoke wintry bleakness.
    • ​Symbolism: A lone southward goose hints at Su’s eventual return, contrasting with distant Xiongnu tents that underscore their diverging fates.

    Colophons and Legacy
    Thirteen Yuan and Ming colophons, including verses by Li Meng and Cheng Jufu, frame the work as a Confucian allegory of loyalty. A later adaptation by ​Chen Juzhong (陈居中, Southern Song) reinterprets the scene with warmer hues and intricate armor patterns, bearing Qing imperial seals. Zhou’s fusion of Tang elegance and Southern Tang introspection influenced generations, cementing his legacy in historical narrative painting.

    Digital Access: View high-resolution details at the National Palace Museum, Taipei

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    Farewell to Winter and Welcoming Auspiciousness An Illustrated Album（Scroll）饯腊迎祥图册

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    Farewell to Winter and Welcoming Auspiciousness An Illustrated Album（Scroll）饯腊迎祥图册

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    Farewell to Winter and Welcoming Auspiciousness: An Illustrated Album
    This 8-panel Qing Dynasty album, painted by Dong Gao in 1816 during the Jiaqing reign, captures traditional Lunar New Year festivities in rural China through vivid ink-and-color illustrations. Housed in Taipei’s National Palace Museum, it depicts rituals such as drumming to herald the new year (Taiping Lagǔ), offering yellow sheep to the Kitchen God (Huáng Yáng Sì Zào), and staying vigilant by the hearth on New Year’s Eve (Wéi Lú Shǒu Suì). Each scene is accompanied by Emperor Jiaqing’s poetic inscriptions, blending Confucian values with imperial symbolism to project post-rebellion stability. The album’s delicate craftsmanship and themes of renewal—like firecrackers warding off evil (Jí Bào Yíng Sháo)—reflect Qing-era artistry and agrarian life, while modern exhibitions and regional revivals in Zhejiang and Fujian continue to celebrate its cultural legacy.

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    First Snow on the River (scroll)江行初雪图卷

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    First Snow on the River (scroll)江行初雪图卷

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    Recent translations and studies encompass Tao Yuanming’s “Returning Home” (《归去来兮辞》), a poetic essay on rejecting societal constraints for rural harmony, and the “Three Character Classic” (《三字经》) in English, praised for its rhythmic and moral clarity. Classical poetry like Li Bai’s “Crossing Jingmen Farewell” (《渡荆门送别》) and Liu Yuxi’s “Reminiscence at West Fort Mountain” (《西塞山怀古》)blend natural imagery with historical reflection. In AI, novel tokenization methods (e.g., Image BPE) advance multimodal models by aligning visual and textual data more effectively

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    Five Horses Scroll五马图卷

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    Five Horses Scroll五马图卷

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    Li Gonglin’s Five Horses Scroll (11th c.), a masterpiece of Northern Song ink painting, depicts five prized Central Asian steeds gifted to the imperial court through masterful baimiao (plain-line) technique. Rediscovered in 2019 after a century-long disappearance, this Tokyo National Museum treasure blends documentary precision with legend—including tales of the artist ‘painting a horse to death’—while reflecting Silk Road diplomacy. Though partially altered in later dynasties, it remains a pinnacle of Chinese equestrian art, bearing inscriptions from literati like Huang Tingjian and Emperor Qianlong that attest to its enduring cultural significance.

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    Four Seasons Landscape Album(Scroll)四时山水图册

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    Four Seasons Landscape Album(Scroll)四时山水图册

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    Hu Gui’s Four Seasons Landscape Album (《四时山水图册》)
    This Qing Dynasty (Qianlong to Jiaqing reign) album, painted by ​Hu Gui (胡桂, fl. 18th–19th century), a Suzhou-born court artist and former palace musician, features four albums (eight leaves each) depicting poetic seasonal landscapes. Painted in ink and color on paper (approx. 31 × 31.8 cm per leaf), the work is housed in the ​National Palace Museum, Taipei, bearing imperial seals like Xuantong yulan zhi bao (宣統御覽之寶).

    Each album captures distinct seasonal moods:

    ​Spring: Scenes like Strolling on Plum Ridge (梅嶺曳杖) and Emerald Peaks by the Lake (平湖翠嶺) evoke renewal with delicate green washes.
    ​Summer: Boating on Calm Waters (平湖放艇) and Lotus Pond Beneath Clouds (雲山荷塘) use layered ink textures to suggest humidity and impending storms.
    ​Autumn: Guests at a Mountain Retreat (野居客至) and Reading in Paulownia Courtyard (桐院坐讀) mirror harvest abundance through golden ochre tones.
    ​Winter: Solitary Boat by Frosted Pavilion (孤舟虛亭) and Plum Blossoms by Misty Stream (雲溪梅香) employ minimalist ink washes to convey Zen-like stillness.
    Hu Gui’s style, influenced by ​Yun Shouping (恽寿平), blends literati refinement with documentary precision. His works, including imperial gifts like painted fans, reflect his role as a discreet yet masterful court painter. The album’s rediscovery in modern times underscores its enduring significance in Qing art history.

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    Four Seasons of Flowers Album（Scroll）四景花卉图册

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    Four Seasons of Flowers Album（Scroll）四景花卉图册

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    Four Seasons of Flowers Album (四景花卉图册) is a pair of Qing Dynasty silk-scroll masterpieces by court artists Qian Weicheng (1720–1772) and Dong Gao (1740–1818), housed in Taipei’s National Palace Museum. Executed in the boneless-and-branch technique (没骨折枝法)—a gongbi method using mineral pigments without ink outlines—the albums depict seasonal flora with botanical precision and symbolic depth.Qian Weicheng’s 40-panel set pairs spring apricot blossoms, summer pomegranates, autumn chrysanthemums, and winter plum blooms with imperial poems by Emperor Qianlong, reflecting Confucian ideals of agrarian harmony. Dong Gao’s 40-panel version juxtaposes two flowers per scene—such as plum-orchid (resilience-refinement) and camellia-wintersweet (nobility-hope)—embodying Daoist yin-yang balance.Both albums align with the 24 Solar Terms, bridging art and agricultural cycles. Qian’s works, stamped with eight imperial seals, highlight his role as Qianlong’s favored painter, while Dong’s collaboration with his father, Dong Bangda (“Big and Little Dong”), revolutionized Qing court aesthetics. Digitized and exhibited in Rhythm of the Cosmos (Shanghai, 2024), they contrast Japanese kachō-ga in imperial grandeur and Dutch still lifes in symbolic harmony.

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    Gathering Spring’s Splendor An Illustrated Album of Qing Dynasty Celebrations(Scroll)开韶集胜册

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    Gathering Spring’s Splendor An Illustrated Album of Qing Dynasty Celebrations(Scroll)开韶集胜册

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    Gathering Spring’s Splendor: An Illustrated Album of Qing Dynasty Celebrations
    This 12-panel Qing Dynasty masterpiece, painted by Dong Gao (1740–1818) in 1803, captures the essence of spring through poetic landscapes and imperial symbolism. Commissioned post–White Lotus Rebellion, the album blends Confucian agrarian ideals (Chūn Shè Yán Bīn‘s communal feasts) with Daoist reverence for nature (Chūn Quán Shù Yù‘s jade-like streams), projecting Qing stability and prosperity. Each scene—from oxen plowing fields to plum blossoms by a lake—is paired with Emperor Jiaqing’s verses, reflecting courtly artistry and seasonal renewal. Housed in Taipei’s National Palace Museum, its silk panels (24.5 × 31.8 cm) showcase “butterfly binding” craftsmanship and mineral pigments, bridging meticulous realism (oxen’s fur textures) and lyrical abstraction (misty mountains). Modern exhibitions (e.g., Qing Dynasty Spring Festivals, 2025) and digitized archives ensure its legacy endures, inspiring contemporary art and cultural revival.

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    Harvest Revelry Spring Sacrifice Scroll

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    Harvest Revelry Spring Sacrifice Scroll

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    Attributed to Southern Song painter ​Zhu Rui (active 12th–13th century), Spring She Drunken Return (《春社醉归图》) captures the lively aftermath of a rural Spring She Festival. This scroll portrays villagers in a prosperous Jiangnan community returning home in tipsy merriment after rituals and feasting, echoing the Tang poet Wang Jia’s verse: “As mulberry shadows slant, the Spring She disperses; every household escorts a drunkard home.” Zhu Rui, a Hebei-born court painter renowned for snowscapes and travel themes, blends meticulous detail with whimsical charm. The work, now housed in Taipei’s ​National Palace Museum, reflects both historical agrarian customs and the enduring cultural interplay of reverence and revelry.

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    Hundred Beauties Scroll (Bai Mei Tu Juan)

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    Hundred Beauties Scroll (Bai Mei Tu Juan)

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    Ming Dynasty “Hundred Beauties Scroll” – Digital Masterpiece Reproduction
    
    This 36.8×483.2cm silk scroll recreates a vibrant spring scene of 100 aristocratic ladies engaged in garden revelries (swinging, butterfly-chasing, music performances). Attributed to Qiu Ying but exemplifying the “Suzhou School” commercial style , it blends Ming-era luxury with blockchain-certified authenticity. Now available as a museum-grade reproduction with AR historical annotations.

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    Hundred Deer Scroll明人百禄图卷

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    Hundred Deer Scroll明人百禄图卷

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    Painted by an anonymous Ming court artist in the 15th–16th century, Hundred Deer Scroll (百禄图卷) is a silk masterpiece (45.6 cm × 290 cm) blending naturalism and imperial symbolism. Over 100 deer—grazing, resting, and frolicking in a mountainous landscape—embody the homophonic pun ‘Bai Lu’ (百禄, ‘hundred salaries’), signifying career success and divine favor. A rare white deer, evoking the mythical qilin, and herb-gathering boys with lingzhi mushrooms reflect Daoist longevity ideals. Executed in refined gongbi techniques with malachite-green mineral pigments and ‘axe-cut’ texture strokes, this scroll exemplifies Ming court aesthetics of cosmic harmony. Housed in Taipei’s National Palace Museum, it merges political allegory with artistic precision, mirroring Qing-era celebratory works while prioritizing symbolic richness over realism.

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    Immortal Blossoms Eternal Spring Album（Scroll）仙萼长春图册

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    Immortal Blossoms Eternal Spring Album（Scroll）仙萼长春图册

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    Immortal Blossoms: Eternal Spring Album (仙萼长春图册) is a 16-panel Qing Dynasty masterpiece by Italian Jesuit painter Giuseppe Castiglione (郎世宁, 1688–1766), housed in Taipei’s National Palace Museum. Created between 1723–1735, this silk album synthesizes European Renaissance techniques—such as chiaroscuro lighting and anatomical precision—with traditional Chinese literati aesthetics, exemplified by “boneless” (没骨) ink washes and symbolic compositions.The album depicts seasonal flora like peonies (symbolizing imperial majesty), lotuses (Buddhist purity), and chrysanthemums (autumnal renewal), alongside birds and insects rendered with scientific accuracy. Innovations include reverse aerial perspective in 百合花纏枝牡丹 (Lily and Climbing Peony), where flowers enlarge toward the top to align with Daoist qiyun principles, and 12-layer glazing for poppy petals inspired by Flemish still lifes. Castiglione’s use of imported pigments (Tibetan malachite, Jesuit-supplied azurite) and hybrid techniques influenced Edo-period Japanese art and Qing porcelain enameling (珐琅彩).

    Beyond botanical artistry, the work served as cultural diplomacy, subtly embedding Christian motifs (e.g., cruciform chrysanthemum stamens) during anti-missionary tensions. A pinnacle of Sino-Western fusion, it redefined imperial aesthetics and remains a touchstone for cross-cultural art studies.

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    Imperial Lineage A Millennial Atlas of Confucian Orthodoxy(Scroll)帝王道统万年图册

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    Imperial Lineage A Millennial Atlas of Confucian Orthodoxy(Scroll)帝王道统万年图册

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    Imperial Lineage: A Millennial Atlas of Confucian Orthodoxy” (Diwang Daotong Wan Nian Tuce)
    This 20-panel silk album by Ming Dynasty painter Qiu Ying (ca. 1494–1552), commissioned by scholar-official Gu Kexue, visualizes China’s mytho-historical rulers from Fuxi to Emperor Renzong of Song. Executed in gongbi (meticulous brushwork) with malachite green and gold accents, it blends Tang-inspired aesthetics with Ming ideological messaging. Each ruler’s portrait faces Gu’s seal-script commentaries quoting classical texts like the Shangshu and Shiji, framing governance through Confucian ideals such as agrarian virtue (Shennong tilling soil) and divine mandate (Yu the Great’s flood control).

    The work critiques Ming politics by contrasting idealized ancient rulers with contemporary decadence, a strategy reflecting Gu’s agenda as a disgraced official seeking rehabilitation. Its restrained palette and symbolic architecture prioritize didacticism over decorative opulence, diverging from Qiu’s lavish Han Palace Spring Morning. Now housed in Taipei’s National Palace Museum, the album bridges pre-modern historiography and Renaissance emblem books, serving as a “data visualization” of Confucian statecraft and a testament to Ming-era synthesis of art, philosophy, and power

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