04101ckm a22004693i 4500 22134190 20250607110309.7 cr ||||||||||| 210708s1795 xx nnn |o inchi 0 ibc orignew u ncip 20 y-gencatlg cc28 2023-01-06 cc32 2023-04-19 LCAP batch update 2025-06-02-04:00: LCAPM-999 2021668847 22134190 (WDL)07764 DLC eng DLC chi $1 760 951 Seizing the Rebel Camp at Dongsa, Dangzhang. eng 880-01 Gong ke Dongsa Dangzhang zei chao. 245-01/$1 攻克洞洒當丈賊巢. Beijing, China : The Chinese Imperial Court, 1795. 1 online resource. still image sti rdacontent computer c rdamedia online resource cr rdacarrier Title devised, in English, by Library staff. Original resource extent: 50.5 centimeters high and 86.5 centimeters wide; copper plate prints. The "Battle Copper Prints" are a series of prints from copper engravings dating from the second half of the 18th century. They were commissioned by the Qianlong emperor of the Qing dynasty (1644--1911), who ruled from 1735 to 1796. They depict his military campaigns in China's inner provinces and along the country's frontiers. The master illustrations for the engravings were large paintings done by European missionary artists employed at that time at the court in Beijing. These artists were Italian Jesuit Giuseppe Castiglione (1688--1766), French Jesuit Jean-Denis Attiret (1702--68), Bohemian Jesuit Ignatius Sichelbarth (1708--80), and the Italian Augustinian missionary, Jean-Damascène Sallusti (d. 1781). The engravings of the first set of 16 paintings were not produced in China but were executed in Paris, at that time home to the best European artisans working in this technique. The emperor even decreed that the work emulate the style of the Augsburg copper engraver Georg Philipp Rugendas the Elder (1666--1742), whose work he knew. Small-scale copies of the paintings by Castiglione and his Beijing colleagues were sent to Paris to be transferred on to copperplates, printed, and then sent back to China, along with the plates and prints. Later sets of engravings were executed in Peking by Chinese apprentices of the Jesuits and differ markedly in style and elaborateness from those of the Paris series. Qianlong's battle copper prints were just one of the means the Manchu emperor employed to document his campaigns of military expansion and suppression of regional unrest. They served to glorify his rule and to exert ideological control over Chinese historiography. In the history of Chinese art, copper-print engraving remained an episode. Seen in their political context, the Qianlong prints represent a distinct and exceptional pictorial genre and are telling examples of the self-dramatization of imperial state power. The East Asia Department of the Berlin State Library holds a set of five series with a total of 64 prints. This is one of four prints depicting the 1795 campaign against and pacification of the Zhong Miao, part of a larger campaign to suppress an anti-Chinese uprising by Miao indigenous peoples living in Guizhou and other provinces of southwestern China. Original resource at: Berlin State Library - Prussian Cultural Heritage Foundation. Content in Chinese. Description based on data extracted from World Digital Library, which may be extracted from partner institutions. 1795 Battles Qing dynasty, 1644-1911 China Yunnan Province Paintings of the Campaign against and Pacification of Zhong Miao gdcwdl wdl_07764 https://hdl.loc.gov/loc.wdl/wdl.7764 Title revised per Asian Division.--cc28 2023-01-06 wdl/wdlpartner/wdlbersb s-Online Electronic Resource