Editing Qing dynasty (section)

===Fine arts===
[[File:Imperial Yellow Peking Glass Vase.jpg|thumb|upright=0.8|A [[Daoguang Emperor|Daoguang]] period [[Peking glass]] vase. Colored in "Imperial Yellow", due to its association with the Qing.]]
The Qing emperors were generally adept at poetry and often skilled in painting, and offered their patronage to Confucian culture. The Kangxi and Qianlong Emperors, for instance, embraced Chinese traditions both to control them and to proclaim their own legitimacy. The Kangxi Emperor sponsored the ''[[Peiwen Yunfu]]'', a rhyme dictionary published in 1711, and the ''[[Kangxi Dictionary]]'' published in 1716, which remains to this day an authoritative reference. The Qianlong Emperor sponsored the largest collection of writings in Chinese history, the ''[[Complete Library of the Four Treasuries]]'', completed in 1782. Court painters made new versions of the Song masterpiece, [[Zhang Zeduan]]'s ''[[Along the River During the Qingming Festival]]'', whose depiction of a prosperous and happy realm demonstrated the beneficence of the emperor. The emperors undertook tours of the south and commissioned monumental scrolls to depict the grandeur of the occasion.<ref>{{Cite web |title=Recording the Grandeur of the Qing |url=http://www.learn.columbia.edu/nanxuntu/start.html |url-status=live |archive-url=https://web.archive.org/web/20121220222345/http://learn.columbia.edu/nanxuntu/start.html |archive-date=20 December 2012 |access-date=2020-05-17 |publisher=The Metropolitan Museum of Art, Columbia University}} [[Chinese painting]]</ref> Imperial patronage also encouraged the industrial production of [[Chinese ceramics|ceramics]] and [[Chinese export porcelain]]. [[Peking glass]]ware became popular after European glass making processes were introduced by Jesuits to Beijing.<ref>Boda, Yang. ''Study of glass wares from the Qing Dynasty (1644–1911).'' 1983.</ref><ref>{{Cite web |last=Nilsson |first=Jan-Erik |title=Chinese Porcelain Glossary: Glass, Chinese (Peking Glass) |url=http://gotheborg.com/glossary/glass.shtml |url-status=live |archive-url=https://web.archive.org/web/20220214071202/https://gotheborg.com/glossary/glass.shtml |archive-date=14 February 2022 |access-date=2017-06-07 |website=gotheborg.com}}</ref> During this period the European trend to imitate Chinese artistic traditions, known as [[chinoiserie]] also gained great popularity in Europe due to the rise in trade with China and the broader current of [[Orientalism]].<ref>{{Cite book |last=Beevers |first=David |title=Chinese Whispers: Chinoiserie in Britain, 1650–1930 |publisher=Royal Pavilion & Museums |year=2009 |isbn=978-0-948723-71-1 |location=Brighton |pages=19}}</ref>

[[File:Landscape by Wang Gai 1694.tiff|thumb|upright=0.8|Landscape by Wang Gai, 1694]]
Yet the most impressive aesthetic works were done among the scholars and urban elite. [[Chinese calligraphy|Calligraphy]] and painting<ref>{{Cite web |title=Ch'ing Dynasty – The Art of Asia – Chinese Dynasty Guide |url=http://www.artsmia.org/art-of-asia/history/dynasty-ching.cfm |url-status=dead |archive-url=https://web.archive.org/web/20120927030515/http://www.artsmia.org/art-of-asia/history/dynasty-ching.cfm |archive-date=27 September 2012 |access-date=13 September 2012 |website=www.artsmia.org}}</ref> remained a central interest to both court painters and scholar-officials who considered the [[four arts]] part of their cultural identity and social standing.<ref>{{Cite web |title=Qing Dynasty, Painting |url=http://www.metmuseum.org/toah/hd/qing_1/hd_qing_1.htm |url-status=live |archive-url=https://web.archive.org/web/20120920210706/http://www.metmuseum.org/toah/hd/qing_1/hd_qing_1.htm |archive-date=20 September 2012 |access-date=13 September 2012 |website=The Met |date=October 2003 |publisher=Metropolitan Museum of Art}}</ref> The painting of the [[Chinese art#Early Qing painting|early years of the dynasty]] included such painters as the orthodox [[Four Wangs]] and the individualists [[Bada Shanren]] and [[Shitao]]. Court painting of the dynasty was also greatly influenced by some Western artists.<ref>{{cite web|url = https://fuqiumeng.com/viewing-room/31-transcultural-dialogues-the-journey-of-east-asian-art/|title = Transcultural Dialogues: The Journey of East Asian Art to The West|publisher = Fu Qiumeng|access-date = 2024-11-25}}</ref> The 19th century saw such innovations as the [[Shanghai School]] and the Lingnan School,<ref>{{Cite web |title=Home |url=http://www.lingnanart.com/home.htm |url-status=dead |archive-url=https://web.archive.org/web/20120708052240/http://www.lingnanart.com/home.htm |archive-date=8 July 2012 |website=The Lingnan School of Painting}}</ref> which used the technical skills of tradition to set the stage for modern painting.