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    Manual of Ceramic Production Album（Scroll）陶瓷谱图册

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    Manual of Ceramic Production Album（Scroll）陶瓷谱图册

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    Manual of Ceramic Production Album(陶瓷谱图冊) is a 14-panel Qing Dynasty silk-scroll masterpiece housed in Taipei’s National Palace Museum, documenting Jingdezhen’s 12-step imperial porcelain production process. Commissioned by the Qing court, it blends gongbi paintings with technical annotations to reveal how kaolin clay from Qimen Mountain was transformed into iconic blue-and-white (qinghua) and polychrome (wucai) ceramics. Key steps include Extracting Clay (kaolin’s low iron enabling translucence), Glazing (1,300°C ash-limestone fusion), and Enamel Firing (800°C precision for Qing famille verte hues). The manual highlights Qing innovations like Yunnan cobalt traded via the Tea-Horse Road and dragon kilns holding 25,000 pieces per firing, while reflecting imperial oversight shifts from Ming eunuchs to Qing customs officials. Its legacy underpins Jingdezhen’s UNESCO intangible heritage status and inspired European porcelain giants like Meissen. A fusion of art and alchemy, this album remains a cornerstone of China’s ceramic civilization.
    
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    Pacification of the Seas (complete scroll)靖海全图

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    Pacification of the Seas (complete scroll)靖海全图

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    An angle encoder is a high-precision optoelectromechanical sensor used to measure angular displacement and rotation direction. It employs a central optical code disk with alternating transparent and opaque lines, where light from an emitter is modulated by a rotating grating and captured by photoelectric components to generate sinusoidal signals (A, B, C, D). These signals, phase-shifted by 90°, enable precise determination of position, speed, and rotational direction. Key features include compact size, lightweight design, high resolution, and durability, making it essential in applications like robotics, wind turbines, CNC machines, automotive production lines, and automated industrial systems. With advancements in automation, angle encoders are increasingly favored for their reliability in real-time position control and high-precision tasks such as welding and spraying: Yuheng Optics Co., Ltd. (Changchun), Brief description and basic principle of angle encoder, March 13, 2023.

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    Paintings of the Porcelain Production and Transport(Scroll)瓷器制运图

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    Paintings of the Porcelain Production and Transport(Scroll)瓷器制运图

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    Paintings of Porcelain Production and Transport (Ciqi Zhiyun Tu)
    This 18th-century Qing Dynasty series of 34 watercolor paintings, housed in the Hong Kong Maritime Museum, documents Jingdezhen’s porcelain manufacturing and global trade networks during China’s “white gold” export peak. Created as “export art” for Western markets, the scroll blends technical precision with cultural storytelling, illustrating steps from kaolin mining in Anhui to glazing innovations like bamboo-tu be spraying. Key scenes—such as Guangdong merchants negotiating orders with verbal contracts and artisans painting “Canton enamels” with European spectacles—highlight the fusion of Chinese craftsmanship and global demand. The finale, depicting British ships loading crates at Whampoa and a kiln-god festival with Western mirrors, encapsulates Qing-era East-West exchange. As a visual archive, it immortalizes Jingdezhen’s technological legacy (e.g., saggars, dragon kilns) and the etymology of “China” itself, derived from Jingdezhen’s former name Changnan. A testament to pre-industrial ingenuity, it remains pivotal for understanding porcelain’s role in shaping global trade and cultural hybridity.

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    Peace and Spring Auspices Album（Scroll）平安春喜图册

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    Peace and Spring Auspices Album（Scroll）平安春喜图册

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    Peace and Spring Auspices Album (平安春喜图册) is a 10-panel silk-scroll masterpiece by Qing Dynasty court artist Dong Gao (1740–1818), created during the Qianlong-Jiaqing reigns. Celebrating imperial harmony and natural renewal, it pairs magpies—symbols of joy and marital bliss—with winter flora like plum blossoms (perseverance), bamboo (integrity), and pine (longevity). Executed in the gongbi technique, Dong’s meticulous brushwork captures iridescent magpie feathers and delicate petals using mineral pigments like azurite and cinnabar.The album reflects Confucian-Daoist ideals, blending celestial symbolism (e.g., crimson bamboo for imperial authority) with seasonal motifs (winter blooms heralding spring). Commissioned for the Qing court, it served as imperial propaganda, aligning with Emperor Qianlong’s patronage of auspicious art to reinforce dynastic legitimacy. Notably, its narrative sequencing distinguishes it from Japanese kachō-ga (flower-bird prints), while its optimism contrasts with European vanitas still lifes.Housed in Taipei’s National Palace Museum, the album was digitized for global access and exhibited in 2023’s Bordercrossing (Yuz Museum, Shanghai), bridging traditional and contemporary art. Dong Gao, a scholar-painter and Grand Secretary, infused his dual expertise in governance and artistry into this work, epitomizing Qing court aesthetics and philosophical depth.

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    Peach Banquet of the Immortals Scroll蟠桃仙会图卷

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    Peach Banquet of the Immortals Scroll蟠桃仙会图卷

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    Attributed to Ming master Qiu Ying but now recognized as a Suzhou pian workshop production, the Peach Banquet of the Immortals Scroll (16th century) combines meticulous gongbi brushwork with Daoist cosmology. Spanning 40.5 cm × 780 cm, it depicts three mythic acts: immortals journeying via magical transports (golden carps, petal boats), celestial youths harvesting immortality peaches in lingzhi-shaped gardens, and deities paying homage to the Jade Emperor—a visual synthesis of Ming imperial aesthetics and Confucian-Daoist ideals. Though bearing Qiu Ying’s seal, its vibrant mineral pigments and flattened perspective align with Suzhou’s commercial replica workshops, which paradoxically preserved classical techniques while catering to Jiangnan’s booming art market. Housed in Taipei’s National Palace Museum, the scroll reflects both religious devotion and the Ming-era commodification of mythological narratives like the Peach Banquet from Journey to the West

    
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    Pearls of Ink Mastery(Scroll)墨妙珠林

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    Pearls of Ink Mastery(Scroll)墨妙珠林

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    Commissioned by Emperor Qianlong in 1745–1747, Pearls of Ink Mastery (墨妙珠林) is a monumental 12-volume encyclopedia of Qing imperial artistry, structured around the Chinese zodiac and the symbolic number 24. Each volume, created by court painters like Yu Sheng and Ding Guanpeng, explores themes spanning Confucian ethics (e.g., 24 Filial Piety Tales), Daoist cosmology (24 Sacred Mountains), and poetic aesthetics (24 Poetic Moods), blending meticulous ink techniques like baimiao with Jesuit-influenced gold-leaf detailing. As part of Qianlong’s ‘Ten Perfections’ cultural campaign, it codified Chinese heritage through art-scholarship synthesis, bearing imperial seals and inspiring East Asian counterparts like Japan’s Ehon Taikōki. Its ’24’ motif reflects cosmic harmony (12 months × 2 cyclical forces), paralleling Enlightenment projects like Diderot’s Encyclopédie while exemplifying scholar-official artistry.

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    Plum Blossom Excursion Jin Tingbiao’s Miniature Handscroll采梅图小手卷

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    Plum Blossom Excursion Jin Tingbiao’s Miniature Handscroll采梅图小手卷

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    . Plum Blossom Exploration Scroll (《采梅图》/《探梅图》) by Jin Tingbiao (金廷标, Qing Dynasty)
    This small handscroll, inscribed “Fragrant Cliffs at Hand” (香巖咫尺), depicts visitors admiring plum blossoms along a riverside during their peak bloom. Commissioned for Emperor Qianlong’s personal enjoyment, it reflects Jin Tingbiao’s delicate brushwork and poetic sensibility

    . Now housed in the ​National Palace Museum, Taipei.

    2. Scholar Picking Plum Blossoms (《摘梅高士图》) by Chen Hongshou (陈洪绶, Ming Dynasty)
    A 17th-century masterpiece (119 x 62 cm, ink and color on silk) held at ​Tianjin Museum. It portrays a scholar plucking plum blossoms, accompanied by a page holding a vase. Chen’s exaggerated figures and fluid drapery lines exemplify his “Southern Chen” style, contrasting sharply with the textured rocks

    Key Context
    Both works celebrate plum blossoms as symbols of resilience and elegance in Chinese literati culture. While Jin Tingbiao’s scroll emphasizes imperial refinement, Chen Hongshou’s painting leans toward Ming-era expressive individualism

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    Qianlong’s ice-sledding and court propaganda御制雪中坐冰床即景图卷

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    Qianlong’s ice-sledding and court propaganda御制雪中坐冰床即景图卷

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    Imperial Scroll of Emperor Qianlong on an Ice Bed in the Snow
    This Qing Dynasty painting, commissioned by Emperor Qianlong and executed by court artist Qian Weicheng (1720–1772), depicts the emperor seated on a yellow-canopied ice bed gliding across frozen Taiye Lake in Beijing’s Western Gardens (Xiyuan). Amid light snowfall, attendants push the ornate sled past imperial pavilions along the shore, blending delicate winter scenery with grand architecture. Now housed in Taipei’s National Palace Museum, the work reflects Qianlong’s passion for ice beds—a royal tradition since the Kangxi era—celebrated in his poetry. Qian Weicheng, a top scholar-painter, masterfully balances intricate details with sweeping landscapes, embodying the fusion of art and imperial culture.

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    Sacred Traces of Confucius An Illustrated Biography（Scroll）孔子圣迹图

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    Sacred Traces of Confucius An Illustrated Biography（Scroll）孔子圣迹图

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    Sacred Traces of Confucius: A Ming Dynasty Illustrated Biography
    This 36-panel silk-scroll album (1465–1505), housed in the Confucius Museum (Qufu, China), chronicles the life of Confucius through vivid paintings and poetic captions. Combining historical accounts (Records of the Grand Historian, Analects) with mythological motifs—such as the qilin’s divine prophecy and Confucius’ birth marked by celestial signs—it blends biography and spiritual homage. Key scenes like Prayer at Mount Ni (symbolizing harmony between humanity and nature) and Meeting Laozi (highlighting Confucian-Daoist interplay) illustrate his teachings on ritual propriety (Li) and benevolence (Ren).Painted in gongbi style with mineral pigments, the album exemplifies Ming aesthetics, using symbolic colors (e.g., red for divinity) and meticulous details to depict ceremonial robes and landscapes. Commissioned during a Confucian revival, it served imperial propaganda by linking rulers to Confucian virtues, as seen in Han Emperor Sacrifices to Confucius. Notably, its sequential narrative predates Western comics, offering philosophical depth akin to the Bayeux Tapestry but focused on moral governance.Modern relevance includes UNESCO’s integration of Confucian ethics into AI frameworks and its digitization for global access. The work remains a cornerstone of East Asian cultural heritage, bridging art, history, and philosophy.

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    Scenes of Seasonal Splendor Album（Scroll）岁华纪胜图册

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    Scenes of Seasonal Splendor Album（Scroll）岁华纪胜图册

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    Scenes of Seasonal Splendor Album(歲華紀勝圖冊) is a 12-panel Ming Dynasty silk-scroll masterpiece by eccentric painter Wu Bin (c. 1573–1620), housed in Taipei’s National Palace Museum. Celebrating annual festivals like the Lantern Festival (元夜) and Grand Exorcism (大傩), it blends gongbi realism with surreal landscapes—featuring doll-like figures, serpentine trees, and floating rocks—inspired by Nanjing’s landmarks such as Niushou Mountain. Each panel merges myth and seasonal rituals (e.g., Bathing the Buddha, Double Ninth Festival) with Jiangnan’s scenery, reflecting Ming cosmopolitanism and Daoist cosmology. Wu’s avant-garde style, dubbed “weird yet refined,” contrasts Hieronymus Bosch’s Christian allegory and Japanese Rinpa elegance. Digitized and exhibited in Ming Eccentrics (2024), it remains a testament to China’s proto-modernist artistry.

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    Scroll of Japanese Pirates Invasion（Scroll）倭寇图卷

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    Scroll of Japanese Pirates Invasion（Scroll）倭寇图卷

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    Xu Wei (徐渭, 1521–1593) was a Ming Dynasty polymath—painter, poet, calligrapher, and playwright—renowned for his emotionally charged, freehand style in ink art. Born in Shaoxing, Zhejiang, he faced lifelong adversity: failing the civil exams eight times, serving as an advisor to General Hu Zongxian in anti-piracy campaigns, and enduring mental health struggles that led to suicide attempts and the killing of his wife, resulting in seven years of imprisonment. His later years weXre devoted to art, where he pioneered bold, expressive flower-and-bird paintings that rejected formal precision, influencing giants like Zhu Da, Wu Changshuo, and Qi Baishi, who famously wished to “grind ink for Green Vine” (Xu’s pen name). Though he valued calligraphy and poetry above painting, his legacy rests on his revolutionary brushwork, bridging Ming literati traditions and modern abstraction

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    Seasonal symbolism in Qing court art月令图卷

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    Seasonal symbolism in Qing court art月令图卷

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    A Bing and Li Huanzhi: Legacy of Chinese Folk and Classical Music
    A Bing (1893–1950), a blind folk artist from Wuxi, created the iconic erhu piece Erquan Yingyue (Moon Reflected in the Second Spring) during personal hardship. Despite poor health, he performed it days before his death, embodying resilience in Chinese folk culture. Decades later, composer Li Huanzhi (1919–2000) revitalized classical traditions, notably reviving the extinct Ming Dynasty harp konghou and composing Kong Hou Yin (Ode to the Harp), blending ancient melodies with modern orchestration. His Spring Festival Overture remains a cultural staple, reflecting both his meticulous artistry and perseverance through the Cultural Revolution. Together, their works symbolize the enduring interplay of folk authenticity and classical revival in China’s musical heritage.

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    Spring Festival in a Peaceful Market（Scroll）太平春市图卷

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    Spring Festival in a Peaceful Market（Scroll）太平春市图卷

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    Spring Festival in a Peaceful Market Scroll (太平春市图卷)
    Painted by Ding Guanpeng in 1742 under Emperor Qianlong’s commission, Spring Festival in a Peaceful Market scroll captures Qing dynasty Lunar New Year festivities through a vibrant silk panorama of over 200 figures. Blending meticulous gongbi realism with European-inspired perspective, it depicts bustling market scenes—vendors with seasonal fruits, Taiping Drum performances, and folk rituals—symbolizing cosmic harmony and imperial prosperity. Housed in Taipei’s National Palace Museum, this hybrid masterpiece reflects Qianlong’s cultural propaganda and influenced East Asian art, bridging Peking opera dynamism with Baroque theatricality in ink.

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    Streams and Mountains under Snow historical context溪山雪意图

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    Streams and Mountains under Snow historical context溪山雪意图

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    Streams and Mountains under Snow Scroll (《溪山雪意图卷》)
    This early Southern Song Dynasty (12th–13th century) ink-on-silk landscape, once attributed to Northern Song painter ​Gao Keming but now recognized as an anonymous work, masterfully depicts a snow-blanketed riverscape. Featuring low hills, pine forests, thatched cottages, and a lone traveler braving the cold, the scroll exemplifies transitional Song aesthetics with its ​focused foreground composition and ​axe-cut texture strokes (斧劈皴) to render icy rocks. Though historically misidentified as Gao Keming’s creation due to forged inscriptions, scholarly analysis reveals its Southern Song origins, reflecting the era’s shift from grand Northern Song vistas to intimate, emotionally resonant scenes. Housed at the ​Metropolitan Museum of Art since 1984, it bridges cultural heritage and artistic innovation, embodying the serene yet vital spirit of winter

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    Sun Kehong’s literati lifestyle themes（Scroll）销闲清课图

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    Sun Kehong’s literati lifestyle themes（Scroll）销闲清课图

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    Scroll of Cultivating Leisure” (Xiao Xian Qing Ke Tu Juan) by Ming artist Sun Kehong (1533–1610) captures 20 refined leisure rituals of late-Ming literati through a 13-meter horizontal scroll. Combining delicate ink washes with poetic inscriptions, it depicts scenes like meditative “Lamp Niche,” ritualistic “Tea Brewing,” and contemplative “Snow Viewing,” transforming daily acts into spiritual practices. Executed in the understated elegance of the Songjiang School, the work embodies the era’s pursuit of harmony between nature and cultivated life. Sun, a former magistrate turned recluse, infused his aristocratic upbringing and Daoist sensibilities into this visual manifesto of scholarly transcendence, now preserved at Taipei’s National Palace Museum

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