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Evidence of Existing Knowledge of China and Its Influence on European Art and Architecture in the Sixteenth and Seventeenth Cent

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Evidence of Existing Knowledge of China and Its Influence on European Art and Architecture in the Sixteenth and Seventeenth Cent EVIDENCE OF EXISTING KNOWLEDGE OF CHINA AND ITS INFLUENCE ON EUROPEAN ART AND ARCHITECTURE IN THE SIXTEENTH AND SEVENTEENTH CENTURIES A Dissertation Presented to The Academic Faculty by Ying Zhu In Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the School of Architecture Georgia Institute of Technology December 2009 EVIDENCE OF EXISTING KNOWLEDGE OF CHINA AND ITS INFLUENCE ON EUROPEAN ART AND ARCHITECTURE IN THE SIXTEENTH AND SEVENTEENTH CENTURIES Approved by: Dr. Ronald Lewcock, Advisor Dr. Eugene Wang School of Architecture School of History of Art and Georgia Institute of Technology Architecture Harvard University Dr. Sonit Bafna Dr. Susan Scott School of Architecture School of Art and Art History Georgia Institute of Technology McDaniel College Dr. Hanchao Lu School of History, Technology, and Society Georgia Institute of Technology Date Approved: February 11, 2009 ACKNOWLEDGEMENTS I am deeply indebted to many mentors, friends and organizations that have helped me in the creation of this dissertation. To begin, the PhD program of the College of Architecture at the Georgia Institute of Technology generously supported my trips to the conference in Oxford that proved to be tremendously beneficial to this project. The Annual Meeting of the British Society of Eighteenth-Century Studies provided me with opportunities to meet other scholars and exchange ideas, which greatly contributed to my research. I would like to particularly thank David Ryan and Matthew Heins, who both spent many hours (especially on weekends) editing this dissertation. Without their continuous friendship and support this project would never have been finalized. I am blessed to have Professor Ronald Lewcock as my advisor at the Georgia Institute of Technology; he has been a constant source of guidance and assistance for this dissertation and far, far beyond. I am also grateful to Professor Sonit Bafna, Professor Hanchao Lu, Professor Eugene Wang and Professor Susan Scott, who all generously agreed to review this dissertation and share their invaluable expertise with me. All of their comments have significantly improved the final version of this dissertation. Two individuals at Emory University, Professor Charles Goetz and Professor Philip Zerrillo, encouraged, pushed and coerced me through the last phase of revisions. Without their assistance this dissertation might still be unfinished. iv I also wish to express my gratitude to many anonymous librarians and curators in various libraries and museums in Europe and China. Particularly, I owe a great debt of thanks to Michael Sullivan, Oliver Impey and Ruilin Chen, role models who not only taught me how to do research, but also what it means to be a true scholar. Special thanks are also due Ta-Han Li for his tremendous help and to my husband, Tifei Hsu, and my daughter Jasmine, for their support and understanding throughout my studies. Last but not least, my colleague Bill Armstrong and my boss Dennis McCarty at InterContinental Hotels Group provided unfailing understanding and timely support during the past six months; this means a lot to me and my family. v TABLE OF CONTENTS Page ACKNOWLEDGEMENTS iv LIST OF FIGURES viii SUMMARY xx CHAPTER I: INTRODUCTION 1 CHAPTER II: Literature Review and Methodology 7 CHAPTER III: Historical Background of the Early Connections between China and Europe before the Sixteenth Century 32 3.1 Early Interactions between China and Europe to the T‟ang Dynasty (A. D. 618 – 907) 32 3.2 From the T‟ang Dynasty (A. D. 618 – 907) to the Fourteenth Century (Yuan Dynasty) 38 3.2.1 The T‟ang Dynasty 38 3.2.2 The Yuan Dynasty (1279-1368 A. D.) and the West 41 3.3 The Meeting of China and Europe during the Fifteenth Century 50 CHAPTER IV: Chinese Influence on Portuguese Art and Architecture 58 4.1 Trade and Other Connections between Spain, Portugal and China 58 4.2 Literary and Visual Resources on China and Chinese Art Available in Portugal in the Sixteenth Century 66 4.3 Evidence of Chinese Influence on Portuguese Art and Architecture 73 4.3.1 Depiction of Chinese Symbolic Animals in Portuguese Faience 92 4.3.2 Depiction of Chinese Architecture 95 4.3.3 Use of Chinese Figures and Landscapes in Portuguese Faience 96 CHAPTER V: Chinese Influence on Dutch Art and Architecture 102 5.1 Influential Dutch Literature Introducing Chinese Art and Architecture 107 vi 5.2 Importation of Chinese Porcelains and the Genesis of Delftware 118 5.3 Paintings and Interior Design 135 CHAPTER VI: Evidence of Chinese Influence on British Art and Architecture 144 6.1 Evidence in British Literature 149 6.2 Evidence in British Visual Arts 152 6.3 The Influence of China on English Landscape Gardens: 165 6.4 Evidence in British Interior Design 173 CHAPTER VII: Chinese Influence On French Art and Architecture 178 7.1 Evidence of Chinese Influence on French Literature 185 7.2 Chinese Influence on French Visual Art 189 7.3 Chinese influence on French Architecture 209 CHAPTER VIII: Chinese Influence on Art and Architecture in Other European Countries218 CHAPTER IX: Conclusion 249 9.1 Trading between Europe and China 251 9.2 Missionaries and Mandarins 252 REFERENCES 257 vii LIST OF FIGURES Page Fig. 2-1 The Imperial Gardens at Jehol, engraving by Matteo Ripa, 1713....................... 18 Fig. 2-2 Porcelain with four sides and two scenes that are linked to the mystery of the Redemption, ...................................................................................................................... 25 Fig. 2-3 Ceramic artifacts found in Santa Clara-a-Velha, Portugal .................................. 26 Fig. 2-4 Cabinet on stand, c. 1690, English, softwood, japanned, with polished brass hinges and lockplate, Athelhampton, Sir Robert Cooke. .................................................. 27 Fig. 2-5 John Stalker and George Parker, engraving in A Treatise on Japanning and Varnishing, 1688, London. ............................................................................................... 27 Fig. 2-6 Arnoldus Montanus, Atlas Chinensis, 1671, engraving. ..................................... 28 Fig. 2-7 The Porcelain Pagoda, Nanking. Illustrated and described in Nieuhoff‟s Travels, engraving, 1665................................................................................................................. 28 Fig. 2-8 Wall hangings, made in Europe around 1700, used between 1868 & 1944 to decorate a “Chinese cabinet” in the Munich Residence, tapestry. .................................... 29 Fig. 2-9 Wall hangings, made in Europe around 1700, used between 1868 & 1944 to decorate a “Chinese cabinet” in the Munich Residence, tapestry. .................................... 30 Fig. 3-1 Ivory casket, Byzantine. Tenth Century. The Cathedral Treasury, Troyers. Detail of two ends 14 * 13 cm. [D. Talbot Rice 9ed., Masterpieces of Byzantine Art (Exhibition catalogue), London, p.51 with full bibliography] ............................................................. 40 Fig. 3-2 Letters from Mongol Emperor to the King of France, 1289 & 1305 .................. 46 Fig. 3-3 Mongol Warrior, Pisanello. Study of Kalmuck, Pen and Ink drawing (Musee Du Louvre, Paris). ................................................................................................................... 47 Fig. 3-4 Details of Tartar and Mongol spectators in Martyrdom of Franciscan Friars, Ambrogio Lorenzetti, ca. 1326, Bacilica of San Francesco, Siena................................... 48 Fig. 3-5 Ambrogio Lorenzetti, Martyrdom of Franciscan Friars, ca. 1326, Basilica of San Francesco, Siena. ....................................................................................................... 49 Fig. 3-6 & 3-7 (detail of 3-6) Andrea Mantegna, The Adoration of the Magi, 1487 – 1500, J. Paul Getty Museum, Los Angeles. ................................................................................ 52 viii Fig. 3-8 Yuan (Mongol) Early 14th-century porcelain dish of a type that occasionally reached Europe in the late 14th & 15th centuries, Ashmolean Museum, Oxford ............ 53 Fig. 3-9 Chinese Textiles, Fourteenth Century. Reproduced in von Falke, Kunstgeschichte ................................................................................................................ 54 Fig. 3-10 Italian Textile (Luccan), Fourteenth century. Reproduced in von Falke, Kunstgeschichte ................................................................................................................ 55 Fig. 3-11 Italian Textile (Venetian). Fifteenth Century. Reproduced in von Falke, Kunstgeschichte ................................................................................................................ 55 Fig. 4-1 Vasco da Gama by an unknown artist, c. 1500, The National Maritime Museum, London .............................................................................................................................. 59 Fig. 4-2 Abraham Ortelius, 1527 – 1598, the first Western map of China based on the reports of the Portuguese mapmaker Luis de Barbuda, which was first published in Abraha, Ortelius‟ Teatruem orbis terrarium (rev. ed.; Antwerp) in 1584 [Reproduced in Alfredo Pinheiro Marques, A Cartographia Portuguesa do Japão (Séculos XVI – XVII) (Lisboa), Oriental Foundation, Lisbon, 1996, p. 153] ...................................................... 60 Fig. 4-3 Juan Gonzalez Mendoz, Historia de las cosas mas notables, ritos y costumbres del gran Reyno de las China, Rome, 1585 ......................................................................
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