The Qing Dynasty before the Opium War: Learning, Prosperity and Stability

1998 ◽  
pp. 54-70
Author(s):  
Wei-Bin Zhang
Keyword(s):  
Qing Dynasty ◽  
The Qing Dynasty ◽  
Opium War

‘Ancestral Voices Prophesying War’

2020 ◽  
pp. 29-62
Author(s):  
Chris Murray
Keyword(s):  
Roman Empire ◽  
British Empire ◽  
Qing Dynasty ◽  
Samuel Taylor Coleridge ◽  
The Qing Dynasty ◽  
Opium War ◽  
Imperial Expansion

Edward Gibbon and Samuel Taylor Coleridge were uneasy about the prospect of a British Empire, fearing overreach and collapse. Historical precedents such as the Roman Empire and Kublai Khan’s China made imperial expansion appear unwise. To Coleridge these predecessors served as warnings to Britain, but to Macartney they offered evidence that the Qing Dynasty was doomed. The Macartney Embassy attempted to recreate aspects of Marco Polo’s reception at Kublai Khan’s court: Macartney, like Gibbon and Coleridge, felt that histories could be replicated. In light of Britain’s fruitless embassies to China in 1793 and 1816, Coleridge’s ‘Kubla Khan’ draws on Gibbon’s account of the Khans for prophetic effect. Like Macartney’s journal, Coleridge’s poem articulates a perception that war between Britain and China was likely some decades before the First Opium War occurred.

Grammatical Descriptions in Manchu Grammar Books from the Qing Dynasty

2019 ◽  
Vol 41 (1) ◽  
pp. 39-55
Author(s):  
Takashi Takekoshi
Keyword(s):  
19Th Century ◽  
Qing Dynasty ◽  
The Qing Dynasty ◽  
Chinese Scholars ◽  
High Degree ◽  
The 19Th Century

In this paper, we analyse features of the grammatical descriptions in Manchu grammar books from the Qing Dynasty. Manchu grammar books exemplify how Chinese scholars gave Chinese names to grammatical concepts in Manchu such as case, conjugation, and derivation which exist in agglutinating languages but not in isolating languages. A thorough examination reveals that Chinese scholarly understanding of Manchu grammar at the time had attained a high degree of sophistication. We conclude that the reason they did not apply modern grammatical concepts until the end of the 19th century was not a lack of ability but because the object of their grammatical descriptions was Chinese, a typical isolating language.

FROM THE HISTORY OF THE FORMATION OF THE IMPERIAL ACADEMY OF PAINTING IN CHINA

2021 ◽  
Vol 1 (3) ◽  
pp. 83-93
Author(s):  
N. G. Surayeva ◽  
Keyword(s):  
Qing Dynasty ◽  
Shang Dynasty ◽  
The Qing Dynasty ◽  
Western Han Dynasty ◽  
Stage Of Development ◽  
Imperial Court ◽  
The Reformation ◽  
The Status ◽  
History Of ◽  
Imperial Academy

Court painting in China has evolved over the millennia. With the advent of each new dynasty, the artistic institution at the emperor's court changed its location and name, and so did the status of artists. Fine art and its genre content depended entirely on the emperors' preferences. This article attempts to present a holistic picture of the reformation of the artistic structure at the imperial court at different historical stages, from the Shang dynasty (1600–1046 BC) to the reign of the Qing dynasty (1616–1911). The work presents the artistic structure of China and identifies its leading representatives at each stage of development. The first information about the Imperial Academy of Painting dates back to the period of the Western Han Dynasty (206 BC – 25 AD), when the Shangfang Department was mentioned. During the last Qing dynasty, the court structure of painting was a complex mechanism, with artists working in the Art Department (Huayuanchu), the Ruiguan and Qixiangong workshops.

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