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Xiyanglou – “Buildings of the Western Ocean

Splendor, Poverty and Lessons of the Ruin

Bibliographic Data

ID6133400
AuthorsDinara V Dubrovskaya (0000-0001-9372-6553, Institute of Oriental Studies of the Russian Academy of Sciences; State Academic University for the Humanities (GAUGN), corresponding author)
Year2023
Issue6
Pages73
Publication date2023-01-01
Open AccessNo
TypeARTICLE
VenueVostok Afro-Aziatskie obshchestva istoriia i sovremennost (JOURNAL)
Journal identifiersISSN: 0869-1908 • E-ISSN: 2713-0401
PublisherInstitute of Oriental Studies Russian Academy of Sciences (PUBLISHER)
DOI10.31857/s086919080028232-2
OpenAlexW4390355645
LanguageEN

The paper gives a complex analysis of the Xiyanglou palace and park complex (“Buildings of the Western Ocean”), located on the current northwestern outskirts of Beijing, designed, and built in 1747–1751 by European masters, led by the Italian Jesuit artist Giuseppe Castiglione (Lang Shining, 1688–1766). Castiglione, best known as a painter, acted in this case as a visionary architect and designer who skillfully integrated the “European part” into the already existing Yuanmingyuan palace complex and received for this his main recognition at the court of the Manchu Emperor Qianlong, who personally oversaw the project. Using the example of the syncretic Sino-European style of the Xiyanglou architectural complex, incorporating European Baroque and Rococo styles and classical Chinese construction principles, the paper demonstrates the European masters’ practical application of the adaptation principles developed by Matteo Ricci, the leader of the Jesuit mission in China when preaching Christianity in China. Separately, the innovative buildings in the Chinese style located in Yuanming Yuan, which incorporated Xiyanglou, are briefly analyzed, the background of the design and creation of Xiyanglou is considered, detailed descriptions of the buildings of the Western Quarter are given, and the fate of the palace and park complex is traced. The author concludes that the Western Quarter, which became a testing ground where were practiced the principles of Occidental art, acted as a focus of mutual influence of European and Chinese artistic trends

Ancient history · Archaeology · Art · Art history · Baroque · Beijing · China · Emperor · Visual arts · Chinese history and philosophy · Engineering · History

Highly citedNo

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