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Within a few short years, he had mastered a new form or style of painting he developed himself, melding Western and Chinese techniques. One of his most famous works, depicting a flower arrangement in a [[celadon]] vase, and titled "Auspicious Object," was completed in 1723, only eight years after he arrived in China.
Within a few short years, he had mastered a new form or style of painting he developed himself, melding Western and Chinese techniques. One of his most famous works, depicting a flower arrangement in a [[celadon]] vase, and titled "Auspicious Object," was completed in 1723, only eight years after he arrived in China.
In [[1737]], the Qianlong Emperor, the first to appreciate his aesthetic, and to take to a fascination with Western culture, ordered Castiglione to design a number of Western-style pavilions for the Imperial gardens. Castiglione designed the [[Yuan-ming-yuan]] with help from his fellow Jesuits, and saw it built from 1747-1759. (It was later destroyed in [[1860]], however, by British and French forces during the [[Second Opium War]].)
Castiglione is also known for his contributions to the cartography of the empire, and his composition of a textual description of the Qing conquest of [[Xinjiang|East Turkestan]] and parts of the southwest, along with illustrations; he managed to have the printing plates for the reproduction of this volume cast in Paris. He is perhaps best known, however, for a series of portraits of the Qianlong Emperor, produced over the course of many years, depicting the emperor in a variety of situations, clothing, and ages.
In [[1737]], the Qianlong Emperor, the first to appreciate his aesthetic, and to take to a fascination with Western culture, ordered Castiglione to design a number of Western-style pavilions for the Imperial gardens. Castiglione also designed and engineered a number of other European-style buildings, including the [[Yuan-ming-yuan]] with help from his fellow Jesuits, and saw it built from 1747-1759. (It was later destroyed in [[1860]], however, by British and French forces during the [[Second Opium War]].)
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==References==
==References==
*Lee, Sherman. "Varieties of Portraiture in Chinese and Japanese Art." ''Bulletin of the Cleveland Museum of Art'' 64:4 (1977). pp118-136.
*Lee, Sherman. "Varieties of Portraiture in Chinese and Japanese Art." ''Bulletin of the Cleveland Museum of Art'' 64:4 (1977). pp118-136.
*Crossley, Pamela Kyle. ''A Translucent Mirror: History and Identity in Qing Imperial Ideology''. University of California Press, 1999, 271-272.
[[Category:Artists and Artisans]]
[[Category:Artists and Artisans]]
[[Category:Edo Period]]
[[Category:Edo Period]]
[[Category:Foreigners]]
[[Category:Foreigners]]
