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      This book is made possible by a collaborative grant from the Andrew W. Mellon Foundation.

      Publication of this book has been aided by a grant from the Millard Meiss Publication Fund of the College Art Association.

      This book also has been supported by generous grants from the Association for Asian Studies First Book Subvention Program, and from the Faculty of Arts and Sciences and the Department of Art History and Archeology at Washington University in St. Louis.

      © 2015 by the University of Washington Press

      Printed and bound in China

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      Composed in Arno by Robert Slimbach, Scala Sans by Martin Majoor,

      and Myriad by Robert Slimbach and Carol Twombly.

      18 17 16 15 5 4 3 2 1

      All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording, or any information storage or retrieval system, without permission in writing from the publisher.

      University of Washington Press

      www.washington.edu/uwpress

      Library of Congress Cataloging-in-Publication Data

      Kleutghen, Kristina, 1981–

      Imperial illusions : crossing pictorial boundaries in the Qing palaces/Kristina Kleutghen.

      pages cm.—(Art history publication initiative)

      Includes bibliographical references and index.

      ISBN 978-0-295-99410-9 (hardcover : alk. paper)

      1. Qianlong, Emperor of China, 1711–1799—Art patronage. 2. Painting, Chinese—

      China—Beijing—Ming-Qing dynasties, 1368–1912. 3. Art and society—China—

      History—18th century. 4. Trompe l’oeil painting—China—Beijing. 5. Gu gong bo wu yuan (China) I. Title.

      ND1047.B45K59 2015

      759.951'156—dc232014007530

      The paper used in this publication is acid-free and meets the minimum requirements of American National Standard for Information Sciences—Permanence of Paper for Printed Library Materials, ANSI Z39.48–1984. ∞

      For Melanie Michailidis (1967–2013)

      IN MEMORIAM

      CONTENTS

       Acknowledgments ix

       Note to Readers xiii

       Chronology of Chinese Dynasties and Political Periods xv

       Introduction: A New Vision of Painting 3

       ONE Painted Walls and Pictorial Illusions 25

       TWO The Study of Vision 59

      THREEContemplating the Future 103

       FOUR Peacocks and Cave-Heavens 143

      FIVEStaging Europe 179

       SIX The Beauty in the Garden 221

       Epilogue: Illusions, Imperial and Otherwise 271

       Appendix: Chinese Texts 279

       Notes 289

       Glossary of Chinese Characters 325

       Bibliography 335

       Index 367

      ACKNOWLEDGMENTS

      While attending the New Jersey Scholars Program (NJSP) in high school, I did not know that its topic for that year, “The Western Experience and Asia: The Collision of Cultures,” would provide the catalyst for my future career. Later, Allen Hockley and Sarah Allan helped me discover a passion for Chinese art at Dartmouth College, which my parents generously made possible. It is upon this foundation that Imperial Illusions was built.

      As a graduate student in Eugene Wang’s landscape painting seminar at Harvard University, I rediscovered the complexity of China’s multicultural eighteenth century, and later

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