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The Macartney Mission and Its Impact on the Understanding of Chinese Art, Aesthetics, and Culture in Great Britain, 1793-1859

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The Macartney Mission and Its Impact on the Understanding of Chinese Art, Aesthetics, and Culture in Great Britain, 1793-1859 From Diplomacy to Diffusion: The Macartney Mission and its Impact on the Understanding of Chinese Art, Aesthetics, and Culture in Great Britain, 1793-1859 Kara Lindsey Blakley ORCID ID: 0000-0001-6304-2169 Thesis submitted to The University of Melbourne in partial fulfillment for the requirements of the Doctor of Philosophy degree. February 2018 Art History School of Culture & Communication Faculty of Arts ABSTRACT Recent art historical scholarship has begun to expand with studies in cross-cultural convergences and transferences garnering newfound attention. This dissertation, through a series of close readings, examines how the deterioration in the relationship between China and Britain manifests in art. In particular, I am concerned with the corollary concepts of depiction and diffusion: that is, how do British artists depict China and the Chinese, and then, how do these depictions diffuse into British visual and material culture more broadly? The primary temporal focus begins with the Macartney diplomatic embassy of 1793, and ends with Victoria’s accession. Through a semiotic interpretation, I demonstrate that the subtle changes in the British visual depiction of recurring Chinese signs (such as the pagoda or ladies of rank) reveal concomitant shifts in attitudes towards China. The concepts of depiction and diffusion comprise the first and second halves, respectively. Chapter Two examines the visual templates that the Jesuit missionaries based at the Beijing court created. Chapters Three and Four center on the imagery of William Alexander, who served as junior artist to the Macartney mission. His two illustrated travelogues (published 1805 and 1814) synthesized signifiers of China that had circulated in Britain for over a century, but his reinterpretation, in addition to his anthropological approach, anticipate an imperialistic turn. His images—which, notably, departed from the the fantastical chinoiserie which predated them— purported to demonstrate to armchair-travelers the way China ‘looked,’ but it is this very claim to authenticity which requires that the images be read anew through a postcolonial lens. Alexander’s images inform the work of Thomas Allom, who created entirely new Chinese scenes in the wake of the Opium Wars; this is taken up in Chapter Five. Chapters Six and Seven seeks to understand the diffusion of Chinese imagery in Britain, and what the cultural signification of that diffusion is. Chapter Six discusses the role of the anglo- chinois garden in eighteenth-century Britain. It also examines the role that William Chambers played in popularizing Chinese motifs, and how his legacy and contribution to an emerging Romantic aesthetic has been obscured in previous literature. Chapter Seven details the interior design scheme of the Royal Pavilion, Brighton (decorated 1802-1823). In the Music Room, Alexander’s documentary imagery has been transformed into decorative spectacle, and pagodas were miniaturized, trivialized, and brought inside: in this regard, Britain sought to possess China by proxy. !ii By interpreting Britain’s Chinese imagery through a semiotic framework, I examine how artists and audiences negotiated increasing contact with China. Evocations of familiar signs belie a deteriorating relationship, which was hastened by Britain’s rapid industrialization and the unabating desire for Chinese goods. As art history embarks on an intercultural turn, connections between China and Britain in the early modern, proto-global world must be included in this field. This dissertation serves as one such point of departure. !iii !iv ACKNOWLEDGEMENTS This dissertation would not have been possible without the input and support of a number of individuals. It has been an honor and a privilege to be supervised by Christopher Marshall. His unwavering support, encouragement, and patience are much appreciated. He has read numerous drafts of this project and has always been available to offer guidance and feedback. I also thank my secondary supervisor, Alison Inglis, for her support throughout this process. I am grateful to the University of Melbourne for providing an International Research Scholarship and a Fee Remission Scholarship to support my doctoral studies. I have had the opportunity to attend several international conferences, and through these experiences, my nebulous ideas have been refined and improved beyond measure. I am especially grateful to Shun-liang Chao, Will Christie, Deirdre Coleman, Nikki Hessell, Hsu Li-hsin, Robert Markley, and Laurence Williams for offering their invaluable feedback in this capacity. Additional thanks are owed to Nikki Hessell. At the University of Melbourne, I am indebted to Gabrielle Grigg, Sister Delma Lamb, Mark Robinson, Jacqui Randall, Laura Liao, and Eliette Dupré-Husser. Anita Archer has been a wonderful sounding board and colleague during the completion of this degree, and Alejandra Gimenez-Berger has provided sage guidance. My best friend, Cilia Deloncre, has provided tremendous intellectual and emotional support. I am forever grateful for how much she has done for me while I have been on this journey. From my late grandma, Virginia Knox, I learned determination and resilience. My papaw, Ralph Blakley, has believed in me, and my mamaw, Gale Blakley, has provided spiritual guidance. My parents, Rich and Carol Blakley, taught me to be curious and diligent, and I thank them for their love and devotion. Chip Blakley, my brother, has had the difficult task of supplying the soundtrack to my dissertation-writing. He exceeded my hopes and expectations with every new playlist. I wish to thank the late Hannah and Luke Blakley for their love. Lastly, I thank Violet and June for their love, affection, and companionship. !v CONTENTS Abstract……ii Declaration Page……iv Acknowledgments……v List of Figures……viii Introduction I. Introduction & Literature Review……1 Introduction……1 Literature Review……6 Methodology……22 II. The Jesuits Missionaries in Beijing: Drawings & Descriptions……25 Matteo Ricci……26 Athanasius Kircher……28 Jean-Baptiste Du Halde……32 Matteo Ripa & Jean-Denis Attiret……38 Part One: Diplomacy III. The Macartney Mission and William Alexander’s Costume of China……40 An Overview of the Macartney Mission……41 William Alexander and the Costume Series……44 The Seafaring Genre: Depictions of Vessels and a Bridge……48 Functional Vessels……49 Vessels in Action……54 Vessels and Class Hierarchy……56 View of a Bridge in the Environs of the City of Sou-tcheou……58 The Military Genre……60 Civilian Figures: Peasants, Merchants, and Elites……65 Peasants……65 Merchants and the Middle Class……68 Social Elites……68 IV. William Alexander’s Picturesque Representations……71 The Qianlong Emperor……74 The Two Mandarins……78 High-Ranking Ladies……81 Alexander’s Depictions of Other Women & His Commentary on Foot-Binding……83 Religious and Funerary Scenes……90 V. Thomas Allom’s Travelogue Illustrations……99 George Thomas Staunton……100 Thomas Allom, after William Alexander……102 The Porcelain Pagoda of Nanjing……105 China from Within: Allom’s Domestic Scenes……108 Opium-Smokers……111 !vi Part Two: Diffusion VI. China, Britain, and the Anglo-Chinois Garden……115 Garden History, Theory, and Inspiration in England, 1730s-1820s……117 Early- & Mid-Eighteenth Century Garden Theory: Shaftesbury, Addison, Pope, and Chambers……125 Mid-Eighteenth Century Garden Theory: Walpole and the Aesthetics of Nationalism……134 Gardens and Romanticism: Inspiration, Exoticism, Nationalism……139 The Romantic English Landscape……141 Constable and the Legacy of Anglo-Chinois Aesthetics in English Gardens and Landscape……144 VII. Domesticating Orientalism: Chinoiserie Interiors of the Royal Pavilion, Brighton……151 George IV……153 The Building of the Royal Pavilion……159 Decorating the Pavilion and the Crace Family……162 Chinese Motifs in the Music Room……167 The Pagoda……169 The Wallpaper and Furniture of the Music Room……176 Chinese Motifs in the Stairwell, Banqueting Room, and Corridor……182 The Stairwell……182 The Banqueting Room and Corridor……185 Rococo vs. Post-Rococo Chinoiserie……186 Domesticating Orientalism……191 Conclusion……195 Figures……197 Bibliography……287 !vii LIST OF FIGURES Figure Page Chapter II 2.1 Cum Fu Çu sive Confucius (Kong fu zi or Confucius), from Prospero Intorcetta et al., trans. and ed., Confucius Sinarum Philosophus, 1687 197 2.2 The Mountain of Kiamsi Province, from Athanasius Kircher, China Illustrata, 1667 198 2.3 Dress Series, from Athanasius Kircher, China Illustrata, 1667 199 2.4 Ferdinand Verbiest, Jiao Bingzhen, Imperial Workshops, Guanxiangtai Tu (Image of the platform on which to observe celestial phenomenon), 1674 200 2.5 Antoine Humblot, Mandarins de Guerre (Chinois), from Jean-Baptiste Du Halde, The General History, 1735 201 2.6 Antoine Humblot, Cortège d'un Viceroy toutes les fois qu'il sort de son Palais (Procession of a Viceroy whenever he leaves his Palace), from Jean-Baptiste Du Halde, The General History, 1735 202 2.7 Antoine Humblot, Nòce Chinoise (Wedding Ceremony), from Jean-Baptiste Du Halde, The General History, 1735 203 Chapter III 3.1 William Alexander, Portrait of a Trading Ship, from William Alexander, Costume of China, 1805 204 3.2 William Alexander, A Fishing Boat, from William Alexander, Costume of China, 1805 205 3.3 William Alexander, Three Vessels Lying at Anchor in the River of Ning-po, from William Alexander, Costume of China, 1805 206 3.4 William Alexander, Portraits of Sea Vessels, generally called Junks, from William Alexander, Costume of China, 1805 207 3.5 William Alexander, A Sea Vessel Under Sail,
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