Changes

*''Born: ''

*''Born: [[1711]]''

*''Died: ''

*''Died: [[1799]]''

*''Reign: [[1735]]-[[1796]]''

*''Reign: [[1735]]-[[1796]]''

*''Chinese/Japanese'': 乾隆帝 ''(Qiánlóng dì / Kenryuu tei)''

*''Chinese/Japanese'': 乾隆帝 ''(Qiánlóng dì / Kenryuu tei)''

The Qianlong Emperor of the [[Qing Dynasty]] ruled over one of the longest and most prosperous reigns of late imperial China. Comprising the better part of the 18th century, the Qianlong reign saw numerous significant political, economic, social, and cultural events.

The Qianlong Emperor of the [[Qing Dynasty]] ruled over one of the longest and most prosperous reigns of late imperial China. Comprising the better part of the 18th century, the Qianlong reign saw numerous significant political, economic, social, and cultural events.

He succeeded the [[Yongzheng Emperor]] in [[1735]],

He was born at the Yonghegong Tibetan Buddhist temple in [[Beijing]], where his father the [[Yongzheng Emperor]] was resident at the time; this temple accordingly later gained considerable Qing patronage and rose in prominence and importance, becoming an alternate center for all of [[Tibetan Buddhism]].<ref>Waley-Cohen, Joanna. “The New Qing History.” ''Radical History Review'' 88, no. 1 (2004): 199.</ref>

During his reign, he attempted to better unite the two Qing bureaucracies of the banners (Mongols, Manchus, and "military" Chinese) and Han Chinese, by requiring members of the banners to take [[Chinese imperial examinations|exams]] in classical Chinese, and not only in Mongol or Manchu. Though deeply committed to Chinese scholarly and cultural traditions, however, Qianlong was also very active in championing Manchu identity, and embracing [[Tibetan Buddhism]], expanding the Imperial compound at [[Chengde]] and transforming it into a religious center in the Tibetan mode.

Qianlong succeeded his father to the throne in [[1735]].

Over the course of his reign, Qianlong also engaged in a number of military adventures, known as the [[Ten Great Campaigns]]. These included, in [[1789]], a Chinese intervention into [[Tay Son|Vietnamese succession disputes]] which ended in the Chinese being expelled from Vietnam.

 

Over the course of his reign, Qianlong also engaged in a number of military adventures, known as the [[Ten Great Campaigns]]. These included, in [[1789]], a Chinese intervention into [[Tay Son|Vietnamese succession disputes]] which ended in the Chinese being expelled from Vietnam. They also included six "tours" of the south, in [[1751]], [[1757]], [[1762]], [[1765]], [[1780]], and [[1784]], in emulation of those made by his grandfather, the [[Kangxi Emperor]]. Though generally seen as a matter of political theater and spectacle, to allow the emperor to be seen, and to thus drum up feelings of support for the emperorship, some scholars of the "New Qing History" movement represent these tours as military expeditions, designed to awe southern peoples into submission through a show of (the threat of) force.<ref>Chang, Michael G. ''A Court on Horseback: Imperial Touring and the Construction of Qing Rule, 1680-1785''. Harvard University Asia Center, 2007, 3n11.; Waley-Cohen, Joanna. “The New Qing History.” ''Radical History Review'' 88, no. 1 (2004), 201.</ref>

On his 80th birthday in [[1790]], the emperor invited theatre troupes to perform at the palace. This occasion is oft-cited as representing the origins of ''[[jingju]]'' (Beijing opera).

On his 80th birthday in [[1790]], the emperor invited theatre troupes to perform at the palace. This occasion is oft-cited as representing the origins of ''[[jingju]]'' (Beijing opera).

He was an avid art collector, and can be credited for amassing a great many of the most famous treasures which today comprise the former Imperial collection.<ref>Now divided between the Palace Museum in Beijing and the National Palace Museum in Taipei.</ref> Many of the most famous works in Chinese art history passed through his hands, and bear colophons (commentaries or poetic responses) by the Qianlong Emperor, along with his seals (with multiple seals often used on the same painting, marking not only his ownership, but his appreciation of the work).

He was an avid art collector, and can be credited for amassing a great many of the most famous treasures which today comprise the former Imperial collection.<ref>Now divided between the Palace Museum in Beijing and the National Palace Museum in Taipei.</ref> Many of the most famous works in Chinese art history passed through his hands, and bear colophons (commentaries or poetic responses) by the Qianlong Emperor, along with his seals (with multiple seals often used on the same painting, marking not only his ownership, but his appreciation of the work).

He also patronized [[Giuseppe Castiglione]], an Italian [[Society of Jesus|Jesuit]] missionary and artist, appointing him court painter, and encouraging experimentation with incorporating Western artistic techniques (e.g. perspective, realistic light & shadow, realistic detail) into traditional Chinese painting. He commissioned Castiglione in [[1737]] to design a number of [[Qianlong Gardens|pavilions]] for the Imperial gardens; with the help of other Jesuit artists, architects, and the like, he saw the [[Yuanmingyuan]] (aka the Old Summer Palace) built in [[1747]]-[[1759]].

He also patronized [[Giuseppe Castiglione]], an Italian [[Society of Jesus|Jesuit]] missionary and artist, appointing him court painter, and encouraging experimentation with incorporating Western artistic techniques (e.g. perspective, realistic light & shadow, realistic detail) into traditional Chinese painting. He commissioned Castiglione in [[1737]] to design a number of [[Qianlong Gardens|pavilions]] for the Imperial gardens; with the help of other Jesuit artists, architects, and the like, he saw the [[Yuanmingyuan]] (aka the Old Summer Palace) dramatically expanded in [[1736]]-[[1753]]. This expansion of the Old Summer Palace marked the first full realization at the Imperial gardens of [[Chinese gardens]] in the style of [[Jiangnan|Southern China]].<ref>Chi Xiao, ''Chinese Garden as Lyric Enclave'', Center for Chinese Studies, Univ. of Michigan (2001), 77.</ref>

Qianlong also commissioned 15,000 scribes to compile a collection of classics, history, letters, and philosophy known as the ''Four Treasures'', a work which took fifteen years to complete.<ref>[[Albert M. Craig]], ''The Heritage of Chinese Civilization'', Third Edition, Prentice Hall (2011), 115.</ref>

Qianlong also commissioned 15,000 scribes to compile a collection of classics, history, letters, and philosophy known as the ''Four Treasures'', a work which took fifteen years to complete.<ref>[[Albert M. Craig]], ''The Heritage of Chinese Civilization'', Third Edition, Prentice Hall (2011), 115.</ref>