Zhang Rocheng, attrib.
Chinese (18th-19th c.)

Summer Palace
Ink and colors on paper

Colby 1960.250
 
In 1703 Emperor Kangxi ordered the construction of a summer retreat in the town of Chengdu near the Rehe river. Also known as "Mountain Manor for Escaping the Summer Heat," it was one of the many imperial gardens commissioned by the earlier emperors of the Qing dynasty. This extravagant garden functioned as an escape solely for the Emperor, his court, and invited guests. It provided entertainment and a pleasurable diversion from the monotony of state affairs in the hot overcrowded imperial city. The garden still exists today, 250km north of Beijing. In the Chengdu summer retreat, auspicious symbols are everywhere. Springs believed to have magical healing qualities emerge from the Rehe river. Looking at the images in this painting, we see immortals floating on clouds of mist and rising from rocky outcroppings. At the far left of the scroll, cranes symbolizing longevity perch atop a gate or bridge. The Emperor valued visiting such an auspicious place because he sought to enhance his good luck and fortune. During the Qing dynasty the empire expanded to become one of the most wealthy and populous regions in the world. As foreigners themselves, the Manchu emperors needed to legitimize their position on the throne. To help accomplish this, they invited foreign princes and nobles to their garden retreats, showered them with gifts and constructed palaces resembling the architecture of their homelands. The emperors hope to gain the allegiance of their neighbors and the respect from the territories they conquered. As we journey down the river from right to left in this scroll, we pass by a group of flat roofed, red windowed buildings on both sides of the river. These structures were modeled after the Potala Palace in Lasa Tibet. At the center of the scroll on the right riverbank, we see a large camp of yurts and many animals included yaks, horses, and camels. This area represents the grasslands of Mongolia. Across from the yurts a group of Europeans gather. We can identify them because of their 18th century dress, pants under a shorter coat contrasted with long robes worn by the Chinese men. All these scenes demonstrate the Emperor’s support for multiculturalism. On the left side of the bank just before the great gate, a man and donkey are grinding millet. The emperor would not normally witness the work of farmers, fisherman or other common country people. As a result these activities were recreated in the gardens as entertaining scenes for the emperor who rarely left the Imperial Palace. Eunuchs even play-acted the roles of shopkeepers, artisans, or farmers, selling goods at reconstructed marketplaces to recreate the bustle of a major city. At the end of the day however, all trades and transactions were reversed because these scenes were only for show.

Angela Martinelli, Colby ‘08