(Shiji guanyu), Mirror-like Water Reflecting Clouds
and Hills (Jingshui yuncen), Long Bow Sipping in
Silver Water (Changhong yinlian), Mellon Field beside
Wood (Futian congyue), Floating Clouds over Flowing
Water (Shuiliu yunzai), making a total of twenty-eight
pages. There are eight missing pages, including Limpid
Water and Charming Rockery (Shuifang yanxiu),
Pavilion among Clouds and Mountains (Simian
yunshan), Garden of Echoing Breeze and Stream
(Fengquan qingting), Grand View in Heaven (Tianyu
xianchang), Double Lakes with Mirror in Between
(Shuanghu jiajing), Nightingales Twittering in Arbors
(Yingzhuan qiaomu), Murmuring of Streams Far and
Near (Yuanjin quansheng). Interestingly, two album
leaves titled Limpid Water and Charming Rockery
(Shuifang yanxiu) and Murmuring of Streams Far
and Near (Yuanjin quansheng) discovered this time
are among the missing pages. Notably, each of
the twenty-eight pages measures 31 cm in height
and 29 cm in width, which closely resembles the
dimensions of the two album leaves (33 cm x 29 cm).
By comparing the painting style and brushwork [5], it
becomes evident that the two album leaves and the
twenty-eight pages in the library of Johns Hopkins
University might be part of the same set of works.
However, due to prolonged exposure on the wall,
the colour of the two album leaves have changed,
appearing less vibrant than that of the pieces in the
library of Johns Hopkins University. Of particular
significance is the French description accompanying
the pages in the library of Johns Hopkins University.
This description, penned by a missionary with a quill
pen, provides a rough depiction of the landscape of
the Mountain Resort and an assessment of China's
artificial gardening techniques. The entire text bears
a striking resemblance to the linguistic style found
in the Lettres édifiantes et curieuses, écrites des
missions étrangères. It brims with admiration and
praise for Oriental art, presenting itself as a splendid
composition originating from the missionaries
outside the scope of the Lettres. The inscription at the
conclusion reads: \"Beijing, July 15, 1765.\"
Based on the information available, we can confirm
that the latest creation time of the two album leaves
discovered here is the thirtieth year of the Qianlong
reign. In other words, the depicted content of the
Thirty-six Views of the Mountain Resort is like that of
Matteo Ripa's copperplate paintings in the Imperial
Poems on the Mountain Resort, and Zhang Ruoxi's
album Emperor Qianlong's Poems on the Mountain
Resort. The landscapes, trees, rocks, and structures
portrayed in these three works have a mirrorimage relation. Due to the limited historical data, it
remains challenging to establish a definite causal
distinct features: the faraway mountains are painted
in vibrant green, while the nearby views are outlined
with gongbi to show architectural details. Even though
the details might not be very refined, they accurately
represent the buildings, and their positions match the
real locations. When we look closely, these two leaves
are very similar to Zhang Ruoxi's album Emperor
Qianlong's Poems on the Mountain Resort housed in
the Palace Museum in Taipei. Except for differences
in brushstrokes and colours, things like distant
mountains, trees, rocks and buildings are almost like
mirror images between the two sets of paintings. The
similarity is obvious. Again, when we compare these
paintings with Matteo Ripa's copperplate paintings,
ignoring the differences in brushstrokes and colours,
we still see a mirror-image relationship between the
three artworks.
So what is the sequence of the three? As mentioned
above, the copperplate paintings were finished in the
fifty-second year of the Kangxi reign, coinciding with
the birth of Zhang Ruoxi. Hence, the chronological
order is evident. Zhang Ruoxi started working for the
court in the eleventh year of the Yongzheng reign when
he got a special position (bianxiu) at Hanlin Academy,
and this continued until the eleventh year of the
Qianlong reign when he passed away. Then how about
the two album leaves? Recent discoveries from the
United States offered some clues to this question.
In the Library of Johns Hopkins University, there exists
an incomplete set of Thirty-Six Views of the Mountain
Resort, including Hall of Refreshing Mist (Yanbo
zhishuang), Fairy-Herb Path and Cloud Cause-way
(Zhijing yundi), Hall of Coolness(Wushu qingliang),
Hall of Coolness-Bringing Breeze (Yanxun shanguan),
Pine-Soughing from Ten-Thousand Ravines (Wanhe
songfeng), Melodious Resonance of Pines and Cranes
(Songhe qingyue), House of Cloudy Mountains
(Yunshan shengdi), North Pavillion between Two Peaks
(Beizhen shuangfeng), Morning Clouds over West
Mountains (Xiling chenxia), Sunset View of Qingchui
Peak (Chuifeng luozhao), Snow-Capped South Hills
(Nanshan jixue), Pear Flowers under Moonlight
(Lihua banyue), Lotus Fragrance over Winding Water
(Qushui hexiang), Pastoral Dream over Water (Haopu
jianxiang), Warm Water with Ripples (Nuanliu xuanbo),
Springs Rippling from Stone Wall (Quanyuan shibi),
Lush Maple on Green Islet (Qingfeng lüyu), Pure
Fragrance Spreading afar (Xiangyuan yiqing), Golden
Flowers under Sun (Jinlian yingri), Cloud Sail and
Moon Boat (Yunfan yuefang), Charming Islet over
Water (Fangzhu linliu), Cloud Forms and Water Looks
(Yunrong shuitai), White Stone beside Limpid Stream
(Chengquan raoshi), Lucid Ripples and Superposed
Green (Chengbo diecui), Watching Fish on Stones
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