Kristina Kleutghen
Biographic Data
| ID | 6004977 |
|---|---|
| NAME | Kristina Kleutghen |
| GIVEN NAMES | Kristina |
| FAMILY NAME | Kleutghen |
| SIGNATURE | KLEUTGHEN K |
| AFFILIATIONS | David W. Mesker Associate Professor of Art History & Archaeology, Washington University in St. Louis MO USA |
| ORCID | 0009-0003-5748-0789 |
| VERIFIED | Yes |
| TOTAL WORKS | 8 |
| TOTAL CITATIONS | 1 |
| AUTHOR COUNT | 8 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2013 |
| LATEST PUBLICATION YEAR | 2026 |
| H-INDEX | 1 |
Adding Works to Words: A Letter about Qing Court Painter Jean-Denis Attiret, S.J. (1702–68) in the Getty Research Institute
In March 1769, Jean Joseph Marie Amiot, S.J. (1718–93), the head of the French Jesuit mission in Beijing, penned a letter about the Jesuit artist Jean-Denis Attiret, S.J. (1702–68, Ch. Wang Zhicheng 王致誠). The Getty Research Institute holds a copy of this letter, which is the most comprehensive written source on Attiret and his decades in China serving the emperor Qianlong 乾隆 (r. 1736–95). Yet Amiot’s letter is unillustrated, establishing a patter…
Triangulating a Global Qing: China, Japan, and Europe in a Snuff Bottle
In the early eighteenth century, a palm-sized snuff bottle was produced for China’s Kangxi 康熙 emperor (r. 1661–1722). Made in the Qing dynasty court workshops in Beijing, this tiny object paired European-style enamels (if not also imported pigments) painted on copper with two insets of Japanese black and gold maki-e lacquer. Combining Japanese and European materials in Chinese court arts is highly unusual, especially in so small an object, making…
Seeing through Pictures and Poetry: A History of Lenses (1681)
Seeing through Pictures and Poetry:A History of Lenses (1681) S.E. Kile (bio) and Kristina Kleutghen (bio) Introduction With the words, "appended below are the specifications for all of these types of lenses" (82), the early Qing author Li Yu (1611–80) rather awkwardly interrupts the second chapter of his vernacular short story (huaben) "A Tower for the Summer Heat" (Xiayi lou) with a long descriptive list of optical devices.1 After developing th…
Imperial Illusions: Crossing Pictorial Boundaries in the Qing Palaces
In the Forbidden City and other palaces around Beijing, Emperor Qianlong (r. 1736-1795) surrounded himself with monumental paintings of architecture, gardens, people, and faraway places. The best artists of the imperial painting academy, including a number of European missionary painters, used Western perspectival illusionism to transform walls and ceilings with visually striking images that were also deeply meaningful to Qianlong. These unpreced…
Peepboxes, Society, and Visuality in Early Modern China
Chinese Occidenterie: The Diversity of “Western” Objects in Eighteenth-Century China
The eighteenth-century Chinese taste for European things was met less by importing foreign goods than by domestically producing occidentalizing works of art, a diverse category of objects that can be termed “occidenterie.” This essay redirects the previous consideration of occidenterie from the Jesuit mission and imperial court painting toward a diversity of examples that span geography, material, format, and social class. The various ways in whi…
Imperial Illusions: Crossing Pictorial Boundaries in the Qing Palaces
In the Forbidden City and other palaces around Beijing, Emperor Qianlong (r. 1736-1795) surrounded himself with monumental of architecture, gardens, people, and faraway places. The best artists of the imperial painting academy, including a number of European missionary painters, used Western perspectival illusionism to transform walls and ceilings with visually striking images that were also deeply meaningful to Qianlong. These unprecedented work…
Staging Europe: Theatricality and Painting at the Chinese Imperial Court
Staging Europe: Theatricality and Painting at the Chinese Imperial Court Kristina Kleutghen (bio) During the golden age of the Qing dynasty (1644–1911), China flourished in peaceful prosperity under the successive Manchu emperors Kangxi (ruled 1661–1722), Yongzheng (ruled 1723–1735), and Qianlong (ruled 1736–1795). Artistically, of these emperors ruling China’s long eighteenth century of the High Qing era, Qianlong proved the most influential and…
Triangulating a Global Qing: China, Japan, and Europe in a Snuff Bottle
In the early eighteenth century, a palm-sized snuff bottle was produced for China’s Kangxi 康熙 emperor (r. 1661–1722). Made in the Qing dynasty court workshops in Beijing, this tiny object paired European-style enamels (if not also imported pigments) painted on copper with two insets of Japanese black and gold maki-e lacquer. Combining Japanese and European materials in Chinese court arts is highly unusual, especially in so small an object, making…
Staging Europe: Theatricality and Painting at the Chinese Imperial Court
Staging Europe: Theatricality and Painting at the Chinese Imperial Court Kristina Kleutghen (bio) During the golden age of the Qing dynasty (1644–1911), China flourished in peaceful prosperity under the successive Manchu emperors Kangxi (ruled 1661–1722), Yongzheng (ruled 1723–1735), and Qianlong (ruled 1736–1795). Artistically, of these emperors ruling China’s long eighteenth century of the High Qing era, Qianlong proved the most influential and…
Chinese Occidenterie: The Diversity of “Western” Objects in Eighteenth-Century China
The eighteenth-century Chinese taste for European things was met less by importing foreign goods than by domestically producing occidentalizing works of art, a diverse category of objects that can be termed “occidenterie.” This essay redirects the previous consideration of occidenterie from the Jesuit mission and imperial court painting toward a diversity of examples that span geography, material, format, and social class. The various ways in whi…
Imperial Illusions: Crossing Pictorial Boundaries in the Qing Palaces
In the Forbidden City and other palaces around Beijing, Emperor Qianlong (r. 1736-1795) surrounded himself with monumental of architecture, gardens, people, and faraway places. The best artists of the imperial painting academy, including a number of European missionary painters, used Western perspectival illusionism to transform walls and ceilings with visually striking images that were also deeply meaningful to Qianlong. These unprecedented work…
Imperial Illusions: Crossing Pictorial Boundaries in the Qing Palaces
In the Forbidden City and other palaces around Beijing, Emperor Qianlong (r. 1736-1795) surrounded himself with monumental paintings of architecture, gardens, people, and faraway places. The best artists of the imperial painting academy, including a number of European missionary painters, used Western perspectival illusionism to transform walls and ceilings with visually striking images that were also deeply meaningful to Qianlong. These unpreced…
Peepboxes, Society, and Visuality in Early Modern China
Seeing through Pictures and Poetry: A History of Lenses (1681)
Seeing through Pictures and Poetry:A History of Lenses (1681) S.E. Kile (bio) and Kristina Kleutghen (bio) Introduction With the words, "appended below are the specifications for all of these types of lenses" (82), the early Qing author Li Yu (1611–80) rather awkwardly interrupts the second chapter of his vernacular short story (huaben) "A Tower for the Summer Heat" (Xiayi lou) with a long descriptive list of optical devices.1 After developing th…
Triangulating a Global Qing: China, Japan, and Europe in a Snuff Bottle
In the early eighteenth century, a palm-sized snuff bottle was produced for China’s Kangxi 康熙 emperor (r. 1661–1722). Made in the Qing dynasty court workshops in Beijing, this tiny object paired European-style enamels (if not also imported pigments) painted on copper with two insets of Japanese black and gold maki-e lacquer. Combining Japanese and European materials in Chinese court arts is highly unusual, especially in so small an object, making…
Adding Works to Words: A Letter about Qing Court Painter Jean-Denis Attiret, S.J. (1702–68) in the Getty Research Institute
In March 1769, Jean Joseph Marie Amiot, S.J. (1718–93), the head of the French Jesuit mission in Beijing, penned a letter about the Jesuit artist Jean-Denis Attiret, S.J. (1702–68, Ch. Wang Zhicheng 王致誠). The Getty Research Institute holds a copy of this letter, which is the most comprehensive written source on Attiret and his decades in China serving the emperor Qianlong 乾隆 (r. 1736–95). Yet Amiot’s letter is unillustrated, establishing a patter…
Chinese history and philosophy (7 works) · China (6 works) · History (6 works) · Art (5 works) · Ancient history (4 works) · Art history (4 works) · Japanese History and Culture (4 works) · Painting (4 works) · Archaeology (3 works) · Literature (3 works)