Empire of Emptiness : Buddhist Art and Political Authority in Qing China

Imperial Manchu support and patronage of Buddhism, particularly in Mongolia and Tibet, has often been dismissed as cynical political manipulation. Empire of Emptiness questions this generalization by taking a fresh look at the huge outpouring of Buddhist painting, sculpture, and decorative arts Qing court artists produced for distribution throughout the empire. It examines some of the Buddhist underpinnings of the Qing view of rulership and shows just how central images were in the carefully reasoned rhetoric the court directed toward its Buddhist allies in inner Asia. The multilingual, culturally fluid Qing emperors put an extraordinary range of visual styles into practice--Chinese, Tibetan, Nepalese, and even the European Baroque brought to the court by Jesuit artists. Their pictorial, sculptural, and architectural projects escape easy analysis and raise questions about the difference between verbal and pictorial description, the ways in which overt and covert meaning could be embedded in images through juxtaposition and collage, and the collection and criticism of paintings and calligraphy that were intended as supports for practice and not initially as works of art. "All scholars of the Qianlong era, of early modern Mongol studies, of Tibetan Buddhism, and of pre-modern China studies will find the book indispensable." --- Pamela Crossley, Dartmouth College "More than any other art historical study to appear recently, this book expands our view of the visual culture of late imperial China by highlighting its ethnic complexity." --- Marsha Haufler, University of Kansas "Imperial Manchu support and patronage of Buddhism, particulary in Mongolia and Tibet, has often been dismissed as cynical political manipulation. Empire of Emptiness questions this generalization by taking a look at the huge outpouring of Buddhist painting, sculpture, and decorative arts that Qing court artists produced for distribution throughout the empire. It examines some of the Buddhist underpinning of the Qing view of rulership and shows just how central images were in the carefully reasoned rhetoric the court directed toward its Buddhist allies in inner Asia. The multi-lingual, culturally fluid Qing emperors put an extraordinary range of visual styles into practice - Chinese, Tibetan, Nepalese, and even the European Baroque brought to the court by Jesuit artists. Their pictorial, sculptural, and architectural projects escape easy analysis and raise questions about the nature of hybridity, the commensurability of different visual styles, the difference between verbal and pictorial description, the ways in which overt and covert meaning could be embedded in images through juxtaposition and collage, and the collection and criticism of paintings and calligraphy that were intended as supports for practice and not initially as works of art.". "Empire of Emptiness will be welcomed by art historians, cultural and institutional historians, students of Buddhist history and practice, and readers interested in the history of the now-troubled relationship between China and its border regions."--BOOK JACKET. Buddhist Art and Political Authority in Qing China Art,Buddhist,China,symbolism,Qing dynasty,1644–1912,History,Tibet,Influence