QLpreface

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1 The Qianlong Emperor s Conquests Depictions of Victories over the Eleuths, Dzungars and Other Central Asian Peoples in Xinjiang French engravers: Jacques-Philippe Le Bas ( ), Jacques Aliamet ( ), Augustin de Saint-Aubin ( ), Benoît Louis Prévost (1747-ca. 1804), Pierre Phillipe Choffard ( ), Joseph Masquelier ( ), François Denis Née ( ), and Nicholas de Launay ( ), under direction of and with modifications by the Secretary- Historiographer of the Academy of Painting, Charles-Nicholas Chochin fils ( ), after drawings by Guiseppe Castiglione (Lang Shining ) ( ), an Italian Jesuit; Jean-Denis Attiret (Wang Zhicheng ), a French Jesuit; Ignatius Sichelbart (Ai Qimeng ), a Bohemian Jesuit; and Giovanni Damasceno (An Deyi d. 1781), an Italian Augustinian. Paris. Etching and engraving from a copperplate on Grand Luovois paper; 57.3 x 92.5 cm (image). 16 plates of pictures accompanied by 16 plates of poems and prose, plus 1 preface by the Qianlong emperor in woodblock print form dated to February-March 1766, 1 postface dated to the 7 th month of the 44 th year of the Qianlong reign (1779) in handwritten form by Gioro Tuside (d. 1779), Manchu Bannerman (Bordered Yellow Banner 黄 ), President of the Board of War and former Governor General of Hubei and Hunan provinces, to which is added in the margins an inscription by his grandson Bingcheng, dating to the 12 th day of the 4 th month of the 23 rd year of the Daoguang reign (May 11, 1843); 1 undated postface in woodblock print form by the officials Liu Tongxun ( ), Alikun (d. 1769), Yin Jishan ( ), Fuheng (d. 1769), Suhede ( ), Yu Minzhong ( ). Gift of Sandy and Cécile Mactaggart The Qianlong Emperor s preface The army stationed in the West successfully achieved its task in It is only a little more than seven years from the end of the battles, in 1766, that the drawings of the conquests were finished. The painters needed this space of time in order to meticulously inquire into [what] the forms of the camps and battles [looked like] so as to compose their designs. Of the officers and soldiers who left for the campaigns and risked their lives at extreme odds, one out of a hundred survived. Giving their lives to the state ensured that their campaigns were successful, so how could I suggest that they die without recognition? That is why in the Throne Hall of the Purple Effulgent Pole Star (Ziguangge ) we have had the portraits painted of those who distinguished themselves. And because of this motivation, we went to the bloody battlefields, we faithfully depicted the circumstances where attacks were made on our strongholds--where we broke the ardour of the enemy, beheaded the generals, and stole the flags--in order to pay homage to their efforts and to celebrate their courage. When I reviewed the military reports I dedicated some poems to them, and I rewrote them to be placed between the folios. For the six scenes that I had not yet touched with my brush [meaning he had yet inscribed them with poetry], I have dedicated special supplementary poems. When I hear the sound of the drums, then [I am reminded] of the generals and soldiers, who are our state. These paintings inspired the same feeling in me. Before the completion of these paintings, I constantly imagined myself touring the battleground even during my busy dealings of government affairs at court. Now with these paintings that show 1

2 everything vividly before my eyes, I feel as if I am commanding the soldiers on the battlefield Sorrowfully inscribed by the Qianlong emperor in the spring of February-March, 1766 L armée [qui opérait] dans l Ouest a achevé sa tâche en ki-mao [jimao, 1759] et ce n est que sept ans après, en ping-siu [bingxu, 1766] que les dessins des combats ont été achevés. C est que pour s enquérir en détail de l aspect des camps et des combats et pour en composer des dessins, il a faillu des saisons et des jours. Des officiers et soldats qui sont partis en campagne, cent sont morts pour un qui survécu. Ils ont donné leur force pour l État, et grâce à eux l œuvre a été achevée; comment pourrais-je supporter qu ils disparussent ignorés? C est pourquoi au Tseu-kouang-ko [Ziguang ge] on reproduit actuellement les portraits des sujets qui sont distingués. Quant à ces [dessins-] ci, on s est rendu dans tous les endroits où le sang avait coulé dans les combats, et on a retracé fidèlment les circonstances où on a attaqué des positions fortes, brisé l ardeur [de l ennemi], décapité ses généraux, enlevé ses drapeaux, afin de rendre hommage à tant d efforts et de célébrer tant de courage. Dans tous les cas où, en ouvrant les bulletins de victoire, je leur avais déjà consacré des poèmes, je les ai écrits entre les feuillets [des gravures]. Quant aux [scènes] pour lesquelles je n avais pas encore pris le pinceau, et qui sont au nombre de six, je leur ai consacré ici spécialement des poèmes supplémentaires 扵頼尔扵扵扵扵 Paul Pelliot, Les Conquêtes de l Empereur de la Chine, T oung Pao vol. 20 (1921):

3 Imperial seals on album leafs: A. Qianlong chenhan Qianlong s Imperial Calligraphy (square relief) B. Qinshu dao qusheng Taking Pleasure in the Way of Music and Calligraphy (square intaglio) C. Wei Jing Wei Yi (square intaglio) D. Qian (round relief) E. Long (square relief) F. Qian (square relief, with intaglio border) G. Long (square intaglio, with relief border) 1. Ignatius Sichelbart. Receiving the Surrender of the Ili. Engraved by Benoît Louis Prévost image: ; poem: Guiseppe Castiglione. Storming the Encampment at Gadan-Ola. Engraved by Jacques-Philippe Le Bas image: ; poem: Unknown artist. The Battle of Oroï-jalatu. Engraved by Jacques- Philippe Le Bas image: ; poem: Giovanni Damasceno. The Battle of Khurungui. Engraved by Jacques Aliamet image: ; poem: Jean-Denis Attiret. The Victory of Khorgas. Engraved by Jacques- Philippe Le Bas image: ; poem: Giovanni Damasceno. The Chief of Us (Turfan) Surrendering with His City. Engraved by Pierre Phillipe Choffard image: ; poem: Unknown artist. The Battle of Tonguzluq. Engraved by Augustin de Saint-Aubin image: ; poem: Guiseppe Castiglione. Raising the Siege of Qara usu (Black River). Engraved by Jacques-Philippe Le Bas image: ; poem: Giovanni Damasceno. The Grand Victory of Qurman. Engraved by Augustin de Saint-Aubin image: ; poem: Jean-Denis Attiret. The Battle of d Arcul/Aroul. Engraved by Jacques Aliamet image: ; poem: Giovanni Damasceno. 尔尔 The Battle of Yesil-kor-nor. Engraved by Nicholas de Launay image: ; poem: Unknown artist. The Battle of Qos-Qulaq. Engraved by Benoît Louis Prévost image: ; poem: Giovanni Damasceno. The Khan of Badakstan Contributing Funds. Engraved by Pierre Phillipe Choffard image: ; poem: Jean-Denis Attiret. Presenting the Emperor with Prisoners Taken During the Pacification. Engraved by Joseph Masquelier image: ; poem:

4 15. Giovanni Damasceno. The Emperor Giving a Victory Banquet for Muslim Officers and Soldiers. Engraved by Denis Née image: ; poem: Unknown artist. The Emperor Giving a Victory Banquet for Officers and Soldiers. Engraved by Jacques-Philippe Le Bas image: ; poem: Literature Beurdeley, Cécile and Michel. Guiseppe Castiglione: A Jesuit Painter at the Court of the Chinese Emperors. London: Lund Humphries, esp China on Paper: European and Chinese works from the late sixteenth to the early nineteenth century. Los Angeles: The Getty Institute, From Beijing to Versailles, Artistic Relations Between China and France. Hong Kong: Hong Kong Museum of Art, Fuchs, W. Der Kupferdruck in China vom 10. Bis 19. Jahrhundert. Gutenberg Jahrbuch (1950): Fuchs, W. Die Entwürfe der Schlachtenkupfer der Kienlung und Taokuangzeit. Monumenta Serica. 9 (1944): Nie Chongzheng, ed. Qingdai yuzhi tongbanhua [Palace Copperplate Etchings of the Qing Dynasty]. Beijing: Wenwu chubanshe, Pelliot, Paul. Les Conquêtes de l Empereur de la Chine. T oung Pao. 20 (1921): Pelliot, Paul. Les Conquêtes de l Empereur de la Chine. T oung Pao. 24 (1932): Pirazzoli-T Serstevens, M. Grauvures des Conquêtes de l Empereur de la Chine K ien-long au Musée Guimet. Paris, Spee, Clarissa von, ed. Printing at Court. In The Printed Image in China: From the 8 th to the 21 st Centuries, London: The British Museum Press, Strassberg, Richard E. "War and Peace: Four Intercultural Landscapes." In China on Paper: European and Chinese Works from the Late Sixteenth to the Early Nineteenth Century. Eds. Marcia Reed and Paola Dematte, Los Angeles: Getty Research Institute, Szrajber, Tanya. The Victories of the Emperor Qianlong. Print Quarterly 23, no. 1 (March 2006): Torres, Pascal. Les Batailles de l Empereur de Chine: La gloire de Qianlong célébrée par Louis XV, une commande royale d estampes. Paris: Musée du Louvre, URL: Museum Collections British Museum, London 1932, 0715 Museé Guimet, Paris Dublin Museum of Science Metropolitan Museum of New York Honolulu Academy of Art Hunterian Museum & Art Gallery, University of Glasgow National Palace Museum, Taipei 4

5 1. Ignatius Sichelbart. Receiving the Surrender of the Ili. Engraved by Benoît Louis Prévost * 衆邉 * A. Qianlong chenhan (square relief) C. Wei Jing Wei Yi (square intaglio) 2. Guiseppe Castiglione. Storming the Encampment at Gadan-Ola. Engraved by Jacques-Philippe Le Bas 属 * * * ** * ** 衆谟 5

6 * 违 * 羣尔属 * ** * * * * * A. Qianlong chenhan (square relief) B. Qinshu dao qusheng (square intaglio) 3. Unknown artist. The Battle of Oroï-jalatu. Engraved by Jacques- Philippe Le Bas 驭 * * * * * * * 1 * * 衆 1 Jaohôi, Hummel 72 (Chao-hui) 6

7 * 衆 * A. Qianlong chenhan (square relief) C. Wei Jing Wei Yi (square intaglio)? 4. Giovanni Damasceno. The Battle of Khurungui. Engraved by Jacques Aliamet * 铤 ** 2 扵羣 * * A. Qianlong chenhan (square relief) C. Wei Jing Wei Yi (square intaglio)? 5. Jean-Denis Attiret. The Victory of Khorgas. Engraved by Jacques- Philippe Le Bas ** 2 Jaohôi, Hummel 72 (Chao-hui) 7

8 * * 衆 * * * * * 丧 ** ** * ** * 4 * * * Qian (round relief) Long (square relief) 6. Giovanni Damasceno. The Chief of Us (Turfan) Surrendering with His City. Engraved by Pierre Phillipe Choffard ** * * * 3 (Tokyo 1965) 4 Ts e-pu-teng Cha-pu, (Tokyo 1965): 3/shou 99/7a 5 Huo Jisi, (Tokyo 1965) 3/shou 128/1a; 4/148/9b 8

9 戦 * 莭旣 ** 衆 * ** 巌 * * 6 * * * * Qian (round relief) Long (square relief) 7. Unknown artist. The Battle of Tonguzluq. Engraved by Augustin de Saint-Aubin ** 顾 ** * * Jaohôi, Hummel 72 (Chao-hui) 7 Alikun, Hummel Jaohôi, Hummel 72 (Chao-hui) 9

10 ** A. Qianlong chenhan (square relief) C. Wei Jing Wei Yi (square intaglio)? 8. Guiseppe Castiglione. Raising the Siege of Qara usu (Black River). Engraved by Jacques-Philippe Le Bas * 帲 9 * 10 尔坟 * * 衆 * ** * * * 弥 * * 9 Mingsui, Hummel 578 (Ming-jui) pinyin Mingrui 10 Mingsui, Hummel 578 (Ming-jui) pinyin Mingrui 10

11 * * 冲 * 帲 A. Qianlong chenhan (square relief) B. Qinshu dao qusheng (square intaglio) 9. Giovanni Damasceno. The Grand Victory of Qurman. Engraved by Augustin de Saint-Aubin 况衆衆 * 屡诏 11 扵 Suhede, Hummel Fude, Hummel 262 (Fu-te) 13 Alikun, Hummel Fude, Hummel 262 (Fu-te) 11

12 * A. Qianlong chenhan (square relief) B. Qinshu dao qusheng (square intaglio) translation published in Orientations (May 2010) of inscription on a related painting: On the brave hero Machang, who broke through the enemy lines, may his great feats be recorded! Therefore, I have ordered that this picture be painted and also wrote a poem in order to record his deeds; in the sixth month, late summer, of the jimao year [1759], in the imperial calligraphy. 15 Fude, Hummel 262 (Fu-te) 16 Alikun, Hummel Jaohôi, Hummel 72 (Chao-hui) 18 Suhede, Hummel Jaohôi, Hummel 72 (Chao-hui) 12

13 In the wars since the yihai year [1755] we relied on the strength of our soldiers and achieved great success. The prospect of abundant reward made many heroes, who willingly risked their lives and carried out their duties. Subutukai truly stood out among the others; three brave ones followed in his footsteps. After them followed many who would never submit, but among these Machang must be called the bravest. In more than 30 battles he always led the attack, seized the enemy flags, beheaded their generals who could oppose him? Armoured horsemen finally subuded all the tribes of Otok; he pacificied Yili [Ili] and was praised for his heroic deeds. When this spring the troops quickly advanced in relief, Fude led troops like wild bears. Machang commanded the vanguard, when the bandits attacked at Qurman. Before our formidable ranks, the bandits fled in all directions; Machang alone pressed after the enemy. With his horsewhip he drove his Ferghana horse; he did not take his embroidered banner but grasped only his carved bow. The first arrow struck the enemy in a fatal spot; a second, shot in haste, though, missed its mark. But the third arrow killed a bandit, who fell from his horse, but without thinking, Machang went deep behind enemy lines. Like ants or bees they swarmed around him, and Machang s horse died under him and fell in the long grass of the steppes. He quit his horse, fought on foot with only his short sword; his angry shouts drove them back, his force like a rainbow. Our soldiers rushed forward and so rescrued Machang; they saw his body was wounded in 10 places. His wounds were bound with silka but on the next day he fought again; with his righteous courage he clearly had the god s protection. The barbarians defeated at Huamen [Qurman] were stunned and lamented: a matchless hero like this, where could he come from? The general memorialized, sending all the facts; he did not fund such courage unusual but expressed his deepest feelings. Supposing he had not set his mind on it or his loyalty, too, was not strong; how could he risk his life or value rank and honour? A relay messenger brought the order that he return home and not be sent into combat again; as Hua Piaoyao was rewarded with honours, today he is worthy of the same. But when he made his report before the emperor, those who heard were moved to tears; and it was agreed that his reward was not in accordance with his merit. Thereafter he returned to the Palace Guards as Commander of the night watch, though he remained humble and modest as if there were no glory in his past. In former times, a soldier who came home reported in the Weiyang Palace, although it was once heard that the emperor did not summon one for his report. 10. Jean-Denis Attiret. The Battle of d Arcul/Aroul. Engraved by Jacques Aliamet Qos-Qulaq 20 * 13

14 A. Qianlong chenhan (square relief) C. Wei Jing Wei Yi (square intaglio)? 11. Giovanni Damasceno. 尔 The Battle of Yesil-kor-nor. Engraved by Nicholas de Launay 尔 * 21 尔尔 22 * ** A. Qianlong chenhan (square relief) C. Wei Jing Wei Yi (square intaglio)? 12. Unknown artist. The Battle of Qos-Qulaq. Engraved by Benoît Louis Prévost * 21 Qos-Qulaq 22 d Arcul/Aroul 14

15 峯 * * A. Qianlong chenhan (square relief) C. Wei Jing Wei Yi (square intaglio)? 13. Giovanni Damasceno. The Khan of Badakstan Contributing Funds. Engraved by Pierre Phillipe Choffard A. Qianlong chenhan (square relief) C. Wei Jing Wei Yi (square intaglio)? 14. Jean-Denis Attiret. Presenting the Emperor with Prisoners Taken During the Pacification. Engraved by Joseph Masquelier A. Qianlong chenhan (square relief) C. Wei Jing Wei Yi (square intaglio)? 15. Giovanni Damasceno. The Emperor Giving a Victory Banquet for Muslim Officers and Soldiers. Engraved by Denis Née D. Qian (round relief) E. Long (square relief, with relief border) 16. Unknown artist. The Emperor Giving a Victory Banquet for Officers and Soldiers. Engraved by Jacques-Philippe Le Bas F. Qian (square relief, with intaglio border) G. Long (square intaglio, with relief border) 17. Woodblock printed postface 扵扵 15

16 麖扵扵谟 23 QL20QL 伇扵 29 扵 23 QL reversed the characters cexun, meaning to record meritorious services 24 alternative form of the character LAI with the to the right 25 alternative form of the character QI banner 26? 27? 28 inversion of laobi ; look up classical references 29? 16

17 Fuheng (d. 1769), Yin Jishan ( ), Liu Tongxun ( ), Alikun (d. 1769), Suhede ( ), Yu Minzhong ( ). seals of officials: H. Chen Yu Minzhong Humbly, Yu Minzhong (square intaglio) I. Alikun??(square relief) 17. Handwritten postface, Gioro Tuside Heavily damaged, mostly illegible. Gioro Tuside s seals: J. Chen Tuside Humbly, Tuside (square intaglio) K. unidentified (square relief) Bingcheng s seal in margins: L. Bingcheng (square intaglio) NOTES: The drawings were sent to France, where they attracted the attention of no less than King Louis XV (r ). They were entrusted to Secretary-Historiographer of the Academy of Painting Charles-Nicolas Cochin II ( ), who did not find the drawings suitable for engraving in their original state. In particular, he felt he had to rework the lesser artist Damasceno s first drawing significantly, delaying its production. Preparation of the plates and printing was slow, and the first engravings were not returned to China until 1772, four years later than anticipated, and the last arrived in In China, the engravings were tremendously influential, and encouraged Qianlong to undertake additional engraving projects using Chinese artists, beginning with a set of 20 depictions of the European Pavilions in the imperial residence produced from 1783 to Fuheng, Hummel vol. 1: Yin Jishan, Hummel vol. 2: Liu Tongxun, Hummel vol 1: Alikun, Hummel , juan 313, pp Look for Gioro Tuside in Qingshi gao, 36, juan 332, Suhede, Hummel vol 2: Yu Minzhong, Hummel vol 2:

48 東華漢學第20期 2014年12月後卿由三軍將佐取代此後中大夫極可能回歸原本職司由於重要性已然不再故而此後便不見中大夫記載於左傳及國語關鍵詞左傳中大夫里克丕鄭卿

48 東華漢學第20期 2014年12月後卿由三軍將佐取代此後中大夫極可能回歸原本職司由於重要性已然不再故而此後便不見中大夫記載於左傳及國語關鍵詞左傳中大夫里克丕鄭卿東華漢學第 20 期 47-98 頁東華大學中國語文學系華文文學系 2014 年 12 月春秋晉國中大夫考黃聖松** 摘要本文討論左傳國語所載中大夫之含義及職司內容認為中大夫不可與上大夫下大夫排比視為大夫等第左傳所載大夫一詞前常冠以其他名詞如中軍大夫上軍大夫下軍大夫七輿大夫公族大夫及僕大夫筆者認為冠諸大夫前名詞即是該大夫職司範圍