Qing dynasty court painting hi-res stock photography and images

Chinese Emperor The Qianlong Emperor (1711-1799) in court dress, portrait painting by Giuseppe Castiglione, 1736 Stock Photo

RM2AP14R3–Chinese Emperor The Qianlong Emperor (1711-1799) in court dress, portrait painting by Giuseppe Castiglione, 1736

China: 'Reading and Musing', from the Yongzheng shier meiren tu or 'Twelve Beauties of Prince Yong', Qing Dynasty court painting, early 18th century. When Yongzheng was still a prince, he commissioned a beautiful set of paintings for the purpose of decorating a screen in the Deep Willows Reading Hall, a study within his private quarters at the Summer Palace. An imperial garden to the northwest of Beijing, the Summer Palace was presented to the young prince in 1709 by his father the Kangxi emperor (r. 1662-1722). Stock Photo

RM2B03439–China: 'Reading and Musing', from the Yongzheng shier meiren tu or 'Twelve Beauties of Prince Yong', Qing Dynasty court painting, early 18th century. When Yongzheng was still a prince, he commissioned a beautiful set of paintings for the purpose of decorating a screen in the Deep Willows Reading Hall, a study within his private quarters at the Summer Palace. An imperial garden to the northwest of Beijing, the Summer Palace was presented to the young prince in 1709 by his father the Kangxi emperor (r. 1662-1722).

Portrait of the Kangxi Emperor in Court Dress - Anonymous Qing Dynasty Court Painter Stock Photo

RM2DH6P6X–Portrait of the Kangxi Emperor in Court Dress - Anonymous Qing Dynasty Court Painter

China: 'Doing Needlework by Candlelight', from the Yongzheng shier meiren tu or 'Twelve Beauties of Prince Yong', Qing Dynasty court painting, early 18th century. When Yongzheng was still a prince, he commissioned a beautiful set of paintings for the purpose of decorating a screen in the Deep Willows Reading Hall, a study within his private quarters at the Summer Palace. An imperial garden to the northwest of Beijing, the Summer Palace was presented to the young prince in 1709 by his father the Kangxi emperor (r. 1662-1722). Stock Photo

RM2B0343A–China: 'Doing Needlework by Candlelight', from the Yongzheng shier meiren tu or 'Twelve Beauties of Prince Yong', Qing Dynasty court painting, early 18th century. When Yongzheng was still a prince, he commissioned a beautiful set of paintings for the purpose of decorating a screen in the Deep Willows Reading Hall, a study within his private quarters at the Summer Palace. An imperial garden to the northwest of Beijing, the Summer Palace was presented to the young prince in 1709 by his father the Kangxi emperor (r. 1662-1722).

Scene from Dream of the Red Chamber by Cao Xueqin (1710-1765) painted by Qing Dynasty artist Sun Wen (1818-1904) using traditional Chinese brushwork to convey this classical novel's central themes of love, fate, and social hierarchy. Stock Photo

RM2Y2X6P1–Scene from Dream of the Red Chamber by Cao Xueqin (1710-1765) painted by Qing Dynasty artist Sun Wen (1818-1904) using traditional Chinese brushwork to convey this classical novel's central themes of love, fate, and social hierarchy.

Portrait of the Qianlong Emperor in Court Robe, ink on paper, 1791. The Qianlong Emperor (1711-1799) was the 6th Emperor of the Qing Dynasty in China Stock Photo

RM2CW8JR2–Portrait of the Qianlong Emperor in Court Robe, ink on paper, 1791. The Qianlong Emperor (1711-1799) was the 6th Emperor of the Qing Dynasty in China

Antique Chinese Export Painting on Pith Paper Depicting a Court Official in Embroidered Dragon Robe and Manchu Headwear. 19th Century, Qing Dynasty Stock Photo

RF2HDD12J–Antique Chinese Export Painting on Pith Paper Depicting a Court Official in Embroidered Dragon Robe and Manchu Headwear. 19th Century, Qing Dynasty

The travelling court of an eighteenth century chinese emperor. Possibly, the Qianlong Emperor (Chien-lung, 1711 – 1799). sixth emperor of the Manchu-led Qing Dynasty, and the fourth Qing emperor to rule over China proper. reigned from 1735 to 1796 Stock Photo

RMF7NAM5–The travelling court of an eighteenth century chinese emperor. Possibly, the Qianlong Emperor (Chien-lung, 1711 – 1799). sixth emperor of the Manchu-led Qing Dynasty, and the fourth Qing emperor to rule over China proper. reigned from 1735 to 1796

Dongfang Shuo stealing peaches of longevity, 清琥珀東方朔偷桃擺件, Qing dynasty (1644–1911), China, Amber, H. 6 1/2 in. (16.5 cm); W. 4 Stock Photo

RMKC7TH0–Dongfang Shuo stealing peaches of longevity, 清琥珀東方朔偷桃擺件, Qing dynasty (1644–1911), China, Amber, H. 6 1/2 in. (16.5 cm); W. 4

Art inspired by 清佚名乾隆頭等侍衛占音保像軸, Portrait of the Imperial Bodyguard Zhanyinbao, Qing dynasty (1644–1911), dated 1760, China, Hanging scroll; ink and color on silk, Painting and inscription: 74 1/4 x 37 7/16 in. (188.6 x 95.1 cm), Paintings, Unidentified Artist Chinese, 18th century, Classic works modernized by Artotop with a splash of modernity. Shapes, color and value, eye-catching visual impact on art. Emotions through freedom of artworks in a contemporary way. A timeless message pursuing a wildly creative new direction. Artists turning to the digital medium and creating the Artotop NFT Stock Photo

RF2HW3C1T–Art inspired by 清佚名乾隆頭等侍衛占音保像軸, Portrait of the Imperial Bodyguard Zhanyinbao, Qing dynasty (1644–1911), dated 1760, China, Hanging scroll; ink and color on silk, Painting and inscription: 74 1/4 x 37 7/16 in. (188.6 x 95.1 cm), Paintings, Unidentified Artist Chinese, 18th century, Classic works modernized by Artotop with a splash of modernity. Shapes, color and value, eye-catching visual impact on art. Emotions through freedom of artworks in a contemporary way. A timeless message pursuing a wildly creative new direction. Artists turning to the digital medium and creating the Artotop NFT

Qing Dynasty Plate with court scene Stock Photo

RMHKM53H–Qing Dynasty Plate with court scene

Art inspired by Dongfang Shuo stealing peaches of longevity, 清琥珀東方朔偷桃擺件, Qing dynasty (1644–1911), China, Amber, H. 6 1/2 in. (16.5 cm); W. 4 1/2 in. (11.4 cm), Amber, Dongfang Shuo was an official at the court of Han Emperor Wu (r. 141–87 B.C.) known for his quick wit and humorous, Classic works modernized by Artotop with a splash of modernity. Shapes, color and value, eye-catching visual impact on art. Emotions through freedom of artworks in a contemporary way. A timeless message pursuing a wildly creative new direction. Artists turning to the digital medium and creating the Artotop NFT Stock Photo

RF2HTW4P2–Art inspired by Dongfang Shuo stealing peaches of longevity, 清琥珀東方朔偷桃擺件, Qing dynasty (1644–1911), China, Amber, H. 6 1/2 in. (16.5 cm); W. 4 1/2 in. (11.4 cm), Amber, Dongfang Shuo was an official at the court of Han Emperor Wu (r. 141–87 B.C.) known for his quick wit and humorous, Classic works modernized by Artotop with a splash of modernity. Shapes, color and value, eye-catching visual impact on art. Emotions through freedom of artworks in a contemporary way. A timeless message pursuing a wildly creative new direction. Artists turning to the digital medium and creating the Artotop NFT

. English: Detail of a painting commemorating the Kangxi Emperor's second 'southern tour' in 1689. The original painting (color on silk scroll; 67.8 cm x 2559.5 cm) is titled 'Illustrated scroll on the Kangxi Emperor's Southern Tour' (康熙帝南巡圖卷). Late seventeenth century. Court painters of the Qing dynasty 756 Kangxi Emperor's Southern Tour (detail) Stock Photo

RMMP40R2–. English: Detail of a painting commemorating the Kangxi Emperor's second 'southern tour' in 1689. The original painting (color on silk scroll; 67.8 cm x 2559.5 cm) is titled 'Illustrated scroll on the Kangxi Emperor's Southern Tour' (康熙帝南巡圖卷). Late seventeenth century. Court painters of the Qing dynasty 756 Kangxi Emperor's Southern Tour (detail)

The Qianlong Emperor in Ceremonial Armour on Horseback' 1739 or 1758. Ink and colour on silk. Giuseppe Castiglione (1688-1766) Italian Jesuit, court painter in China. Fifth emperor of the Manchu-led Qing Dynasty 1736-1795. Stock Photo

RMD994X2–The Qianlong Emperor in Ceremonial Armour on Horseback' 1739 or 1758. Ink and colour on silk. Giuseppe Castiglione (1688-1766) Italian Jesuit, court painter in China. Fifth emperor of the Manchu-led Qing Dynasty 1736-1795.

. English: 'The New City of Feng' (畫院本新豐圖) Ink and color on silk. Width 96.4 cm, Height 203.8 cm. Located in National Palace Museum, Taibei. The founder of the Han Dynasty Liu Bang originally came from the city of Feng. In order to please his father, he modified part of the new Han capital at Chang An to resemble the original city of Feng County, going so far as to import residents from that city to populate the new city. This painting commemorates that city. The inscription is poetry from the Qianlong Emperor. . Qing Dynasty (1644-1911). 1034 Qing Court Artists - The New City of Feng Stock Photo

RMMNTKR7–. English: 'The New City of Feng' (畫院本新豐圖) Ink and color on silk. Width 96.4 cm, Height 203.8 cm. Located in National Palace Museum, Taibei. The founder of the Han Dynasty Liu Bang originally came from the city of Feng. In order to please his father, he modified part of the new Han capital at Chang An to resemble the original city of Feng County, going so far as to import residents from that city to populate the new city. This painting commemorates that city. The inscription is poetry from the Qianlong Emperor. . Qing Dynasty (1644-1911). 1034 Qing Court Artists - The New City of Feng

Qianlong takes a horse as Tribute from Tartar envoys. . The Qianlong Emperor (sixth emperor of the Manchu-led Qing Dynasty), from 1735 to 1796. Painted by Giuseppe Castiglione, (1688 – 1766), Italian Jesuit lay priest, who served as a missionary in China, where he became a painter at the court of the emperor Stock Photo

RMF7NAM6–Qianlong takes a horse as Tribute from Tartar envoys. . The Qianlong Emperor (sixth emperor of the Manchu-led Qing Dynasty), from 1735 to 1796. Painted by Giuseppe Castiglione, (1688 – 1766), Italian Jesuit lay priest, who served as a missionary in China, where he became a painter at the court of the emperor

Kublai Khan, Chinese Yuan Dynasty Emperor Shi Tsu, portrait 17th/18th century Qing Kangxi court artist, painting on paper. Grandson Ghenghis Khan Stock Photo

RM2G23K78–Kublai Khan, Chinese Yuan Dynasty Emperor Shi Tsu, portrait 17th/18th century Qing Kangxi court artist, painting on paper. Grandson Ghenghis Khan

Formal Collar. Culture: China. Dimensions: Overall: 13 1/2 x 30 1/4 in. (34.3 x 76.8 cm). Date: 18th century. Formal portraits of Qing-dynasty men and women--members of the imperial family, the nobility, and court officials--show them wearing this type of detachable collar (pi ling) over their formal court robes. Museum: Metropolitan Museum of Art, New York, USA. Stock Photo

RMPAM1FP–Formal Collar. Culture: China. Dimensions: Overall: 13 1/2 x 30 1/4 in. (34.3 x 76.8 cm). Date: 18th century. Formal portraits of Qing-dynasty men and women--members of the imperial family, the nobility, and court officials--show them wearing this type of detachable collar (pi ling) over their formal court robes. Museum: Metropolitan Museum of Art, New York, USA.

Ancient Chinese painting, portrait of a Chinese dignitary, tempera on canvas, Qing period 1644-1911. Stock Photo

RM2JE0WGH–Ancient Chinese painting, portrait of a Chinese dignitary, tempera on canvas, Qing period 1644-1911.

(140306) -- TORONTO, March 6, 2014 (Xinhua) -- Visitors watch a series of paintings of Prince Yinzhen's painting of Twelve Beauties of Qing dynasty from the Palace Museum of China during the media day of the Exhibition 'The Forbidden City: Inside the Court of China's Emperors' at the Royal Ontario Museum in Toronto, Canada, March 5, 2014. This six-month exhibition brings to Canada for the first time about 250 treasures of the Palace Museum of China that were part of Chinese imperial life, and also provids an opportunity for Canadians to learn about China's long and fascinating history and trad Stock Photo

RMDWDEX8–(140306) -- TORONTO, March 6, 2014 (Xinhua) -- Visitors watch a series of paintings of Prince Yinzhen's painting of Twelve Beauties of Qing dynasty from the Palace Museum of China during the media day of the Exhibition 'The Forbidden City: Inside the Court of China's Emperors' at the Royal Ontario Museum in Toronto, Canada, March 5, 2014. This six-month exhibition brings to Canada for the first time about 250 treasures of the Palace Museum of China that were part of Chinese imperial life, and also provids an opportunity for Canadians to learn about China's long and fascinating history and trad

Calligraphy in Kai-Shu Script, late 17th century, Wang Yuan-ch'i, 1642-1715, 46 x 15 1/2 in. (116.84 x 39.37 cm) (image), Ink on paper, China, 17th century, Wang Yuanqi was born in Tai-tsang, Jiangsu, into a family of prominent scholar-officials, including his grandfather, Wang Shimin (1592-1680), the important orthodox, literati painter. Wang, in fact, studied the classics and painting under his grandfather's tutelage. He held several important court appointments and was eventually grouped with his grandfather, Wang Hui and Wang Jian, as one of the Four Major Wangs of the Qing dynasty. Stock Photo

RM2T916JE–Calligraphy in Kai-Shu Script, late 17th century, Wang Yuan-ch'i, 1642-1715, 46 x 15 1/2 in. (116.84 x 39.37 cm) (image), Ink on paper, China, 17th century, Wang Yuanqi was born in Tai-tsang, Jiangsu, into a family of prominent scholar-officials, including his grandfather, Wang Shimin (1592-1680), the important orthodox, literati painter. Wang, in fact, studied the classics and painting under his grandfather's tutelage. He held several important court appointments and was eventually grouped with his grandfather, Wang Hui and Wang Jian, as one of the Four Major Wangs of the Qing dynasty.

(140121) -- NANJING, Jan. 21, 2014 (Xinhua) -- A visitor takes photos of the equine-themed painting 'Eight Gallant Horses' by Ignatius Sichelbarth, an 18th-century Jesuit missionary who worked for the court of the Qing Dynasty (1644-1911 AD), during the preview of 'Galloping Horses: An Exhibition of Nanjing Museum's Equine Relics Collection' at the Nanjing Museum in Nanjing, capital of east China's Jiangsu Province, Jan. 21, 2014. Featuring relics with equine shapes or patterns throughout history, the exhibition is held to mark the upcoming Year of the Horse, which falls on Jan. 31, 2014. (Xin Stock Photo

RMDR6Y9M–(140121) -- NANJING, Jan. 21, 2014 (Xinhua) -- A visitor takes photos of the equine-themed painting 'Eight Gallant Horses' by Ignatius Sichelbarth, an 18th-century Jesuit missionary who worked for the court of the Qing Dynasty (1644-1911 AD), during the preview of 'Galloping Horses: An Exhibition of Nanjing Museum's Equine Relics Collection' at the Nanjing Museum in Nanjing, capital of east China's Jiangsu Province, Jan. 21, 2014. Featuring relics with equine shapes or patterns throughout history, the exhibition is held to mark the upcoming Year of the Horse, which falls on Jan. 31, 2014. (Xin

China: 'Watching Cats while Holding a Rosary', from the Yongzheng shier meiren tu or 'Twelve Beauties of Prince Yong', Qing Dynasty court painting, early 18th century. When Yongzheng was still a prince, he commissioned a beautiful set of paintings for the purpose of decorating a screen in the Deep Willows Reading Hall, a study within his private quarters at the Summer Palace. An imperial garden to the northwest of Beijing, the Summer Palace was presented to the young prince in 1709 by his father the Kangxi emperor (r. 1662-1722). Stock Photo

RM2B0343E–China: 'Watching Cats while Holding a Rosary', from the Yongzheng shier meiren tu or 'Twelve Beauties of Prince Yong', Qing Dynasty court painting, early 18th century. When Yongzheng was still a prince, he commissioned a beautiful set of paintings for the purpose of decorating a screen in the Deep Willows Reading Hall, a study within his private quarters at the Summer Palace. An imperial garden to the northwest of Beijing, the Summer Palace was presented to the young prince in 1709 by his father the Kangxi emperor (r. 1662-1722).

RM2Y2X4DM–Scene from Dream of the Red Chamber by Cao Xueqin (1710-1765) painted by Qing Dynasty artist Sun Wen (1818-1904) using traditional Chinese brushwork to convey this classical novel's central themes of love, fate, and social hierarchy.

The Qianlong Emperor in court dress by Giuseppe Castiglione (1688-1766, Chinese name Lang Shining), 1736. The Qianlong Emperor (1711-1799) was the 6th Emperor of the Qing Dynasty in China Stock Photo

RM2CW8JRC–The Qianlong Emperor in court dress by Giuseppe Castiglione (1688-1766, Chinese name Lang Shining), 1736. The Qianlong Emperor (1711-1799) was the 6th Emperor of the Qing Dynasty in China

RF2HDD14D–Antique Chinese Export Painting on Pith Paper Depicting a Court Official in Embroidered Dragon Robe and Manchu Headwear. 19th Century, Qing Dynasty

Hall of Lofty Pines, 1703. Wang Hui, a leading painter in the orthodox school of the early Qing dynasty (1644-1911), was commissioned to paint this landscape with a country estate for Li Duna (1628-1703), vice minister of justice in Emperor Kangxi’s court. The emperor had honored Li by granting him a piece of calligraphy with the name of Li’s retirement retreat, "Hall of Lofty Pines." He drew a comparison between pines and Li’s upright character, resilience, and longevity. Wang Hui’s painting was supposed to allow Li to imagine living in a beautiful, seclu Stock Photo

RM2A51256–Hall of Lofty Pines, 1703. Wang Hui, a leading painter in the orthodox school of the early Qing dynasty (1644-1911), was commissioned to paint this landscape with a country estate for Li Duna (1628-1703), vice minister of justice in Emperor Kangxi’s court. The emperor had honored Li by granting him a piece of calligraphy with the name of Li’s retirement retreat, "Hall of Lofty Pines." He drew a comparison between pines and Li’s upright character, resilience, and longevity. Wang Hui’s painting was supposed to allow Li to imagine living in a beautiful, seclu

RF2HDD16B–Antique Chinese Export Painting on Pith Paper Depicting a Court Official in Embroidered Dragon Robe and Manchu Headwear. 19th Century, Qing Dynasty

Horsemanship Competition for the Shunzhi Emperor dated 1662 Nardunbu Manchu This long handscroll documents one of the celebratory events accompanying the entrance of the Shunzhi emperor (r. 1644–61) into Beijing shortly after the fall of the Ming dynasty to the Manchus. Painted by a Manchu artist, it is among the earliest examples of Qing courtly painting known and suggests the unsophisticated nature of Manchu art prior to the sinicization of the court under the Kangxi emperor (r. 1662–1722). The scroll is not only of great historical interest but also serves as a striking foil to The Kangxi E Stock Photo

RM2HHW7KA–Horsemanship Competition for the Shunzhi Emperor dated 1662 Nardunbu Manchu This long handscroll documents one of the celebratory events accompanying the entrance of the Shunzhi emperor (r. 1644–61) into Beijing shortly after the fall of the Ming dynasty to the Manchus. Painted by a Manchu artist, it is among the earliest examples of Qing courtly painting known and suggests the unsophisticated nature of Manchu art prior to the sinicization of the court under the Kangxi emperor (r. 1662–1722). The scroll is not only of great historical interest but also serves as a striking foil to The Kangxi E

Visitors watch a series of paintings of Prince Yinzhen s painting of Twelve Beauties of Qing dynasty from the Palace Museum of China during the media day of the Exhibition The Forbidden City: Inside the Court of China s Emperors at the Royal Ontario Museum in Toronto, Canada, March 5, 2014. This six-month exhibition brings to Canada for the first time about 250 treasures of the Palace Museum of China that were part of Chinese imperial life, and also provids an opportunity for Canadians to learn about China s long and fascinating history and traditional culture. (Xinhua/Zou Zheng) CANADA-TORONT Stock Photo

RM2RM7JHT–Visitors watch a series of paintings of Prince Yinzhen s painting of Twelve Beauties of Qing dynasty from the Palace Museum of China during the media day of the Exhibition The Forbidden City: Inside the Court of China s Emperors at the Royal Ontario Museum in Toronto, Canada, March 5, 2014. This six-month exhibition brings to Canada for the first time about 250 treasures of the Palace Museum of China that were part of Chinese imperial life, and also provids an opportunity for Canadians to learn about China s long and fascinating history and traditional culture. (Xinhua/Zou Zheng) CANADA-TORONT

The Emperor of Japan and the Royal princes and military commanders of the royal court From the book 'Scenes from the Japan-China War' by Inouye, Jukichi, 1862-1929; Yamamoto, Eiki, illustrator. Published in Tokyo in 1895 with English Text. The First Sino-Japanese War (25 July 1894 – 17 April 1895) was a conflict between the Qing dynasty of China and the Empire of Japan primarily over influence in Joseon Korea. After more than six months of unbroken successes by Japanese land and naval forces and the loss of the port of Weihaiwei, the Qing government sued for peace in February 1895. Stock Photo

RF2DH8HX7–The Emperor of Japan and the Royal princes and military commanders of the royal court From the book 'Scenes from the Japan-China War' by Inouye, Jukichi, 1862-1929; Yamamoto, Eiki, illustrator. Published in Tokyo in 1895 with English Text. The First Sino-Japanese War (25 July 1894 – 17 April 1895) was a conflict between the Qing dynasty of China and the Empire of Japan primarily over influence in Joseon Korea. After more than six months of unbroken successes by Japanese land and naval forces and the loss of the port of Weihaiwei, the Qing government sued for peace in February 1895.

(140121) -- NANJING, Jan. 21, 2014 (Xinhua) -- Visitors look at the equine-themed painting Eight Gallant Horses by Ignatius Sichelbarth, an 18th-century Jesuit missionary who worked for the court of the Qing Dynasty (1644-1911 AD), during the preview of Galloping Horses: An Exhibition of Nanjing Museum s Equine Relics Collection at the Nanjing Museum in Nanjing, capital of east China s Jiangsu Province, Jan. 21, 2014. Featuring relics with equine shapes or patterns throughout history, the exhibition is held to mark the upcoming Year of the Horse, which falls on Jan. 31, 2014. (Xinhua/Sun Can) Stock Photo

RM2RM6MTK–(140121) -- NANJING, Jan. 21, 2014 (Xinhua) -- Visitors look at the equine-themed painting Eight Gallant Horses by Ignatius Sichelbarth, an 18th-century Jesuit missionary who worked for the court of the Qing Dynasty (1644-1911 AD), during the preview of Galloping Horses: An Exhibition of Nanjing Museum s Equine Relics Collection at the Nanjing Museum in Nanjing, capital of east China s Jiangsu Province, Jan. 21, 2014. Featuring relics with equine shapes or patterns throughout history, the exhibition is held to mark the upcoming Year of the Horse, which falls on Jan. 31, 2014. (Xinhua/Sun Can)

A young female visitor walks through an egg-shaped gate in the Lin Ben Yuan's Family Garden at Banqiao District, New Taipei City, Taiwan. Stock Photo

RF2X19NNK–A young female visitor walks through an egg-shaped gate in the Lin Ben Yuan's Family Garden at Banqiao District, New Taipei City, Taiwan.

Chinese Emperor, The Yongzheng Emperor (b.1678-d.1735), portrait in court dress, hanging scroll, 1800-1899 Stock Photo

RM2FMXCTH–Chinese Emperor, The Yongzheng Emperor (b.1678-d.1735), portrait in court dress, hanging scroll, 1800-1899

A court yard in Summer Palace, Beijing, China Stock Photo

RFC82EA4–A court yard in Summer Palace, Beijing, China

Crown Prince Zenghis or Jingim Yuan Dynasty son Kublai Khan 17th/18th century Chinese Court painting on paper, family Genghis Khan, ref.Marco Polo Stock Photo

RM2G23J7C–Crown Prince Zenghis or Jingim Yuan Dynasty son Kublai Khan 17th/18th century Chinese Court painting on paper, family Genghis Khan, ref.Marco Polo

Jar with Floral Scrolls and Wrapped-Cloth Design. Culture: China. Dimensions: H. 10 in. (25.4 cm); Diam. 7 1/2 in. (19.1 cm); Diam. of base 3 3/4 in. (9.5 cm). Date: 18th century. Invented in Limoges, France, during the fifteenth century, the technique of painting enamels onto metal was brought by the Jesuits to China in the early eighteenth century. Jars and other vessels made in this technique are sometimes known as 'foreign porcelains' in China. Painted enamels for court use were made in one of the specialized workshops in the Forbidden City, and those for domestic use and export were prod Stock Photo

RMPAAN1A–Jar with Floral Scrolls and Wrapped-Cloth Design. Culture: China. Dimensions: H. 10 in. (25.4 cm); Diam. 7 1/2 in. (19.1 cm); Diam. of base 3 3/4 in. (9.5 cm). Date: 18th century. Invented in Limoges, France, during the fifteenth century, the technique of painting enamels onto metal was brought by the Jesuits to China in the early eighteenth century. Jars and other vessels made in this technique are sometimes known as 'foreign porcelains' in China. Painted enamels for court use were made in one of the specialized workshops in the Forbidden City, and those for domestic use and export were prod

Ancient Chinese painting, portrait of a Chinese dignitary with his wife, tempera on canvas, Qing period 1644-1911. Stock Photo

RM2JE0WGX–Ancient Chinese painting, portrait of a Chinese dignitary with his wife, tempera on canvas, Qing period 1644-1911.

RMMKMTD8–The Twelfth Month

清佚名乾隆頭等侍衛占音保像軸, Portrait of the Imperial Bodyguard Zhanyinbao, Unidentified Artist Chinese, 18th century, dated 1760 Stock Photo

RMKCC5D4–清佚名乾隆頭等侍衛占音保像軸, Portrait of the Imperial Bodyguard Zhanyinbao, Unidentified Artist Chinese, 18th century, dated 1760

RMDR6Y9X–(140121) -- NANJING, Jan. 21, 2014 (Xinhua) -- Visitors look at the equine-themed painting 'Eight Gallant Horses' by Ignatius Sichelbarth, an 18th-century Jesuit missionary who worked for the court of the Qing Dynasty (1644-1911 AD), during the preview of 'Galloping Horses: An Exhibition of Nanjing Museum's Equine Relics Collection' at the Nanjing Museum in Nanjing, capital of east China's Jiangsu Province, Jan. 21, 2014. Featuring relics with equine shapes or patterns throughout history, the exhibition is held to mark the upcoming Year of the Horse, which falls on Jan. 31, 2014. (Xinhua/Sun C

China: 'Lost in Thought while Viewing Antiques', from the Yongzheng shier meiren tu or 'Twelve Beauties of Prince Yong', Qing Dynasty court painting, early 18th century. When Yongzheng was still a prince, he commissioned a beautiful set of paintings for the purpose of decorating a screen in the Deep Willows Reading Hall, a study within his private quarters at the Summer Palace. An imperial garden to the northwest of Beijing, the Summer Palace was presented to the young prince in 1709 by his father the Kangxi emperor (r. 1662-1722). Stock Photo

RM2B0342C–China: 'Lost in Thought while Viewing Antiques', from the Yongzheng shier meiren tu or 'Twelve Beauties of Prince Yong', Qing Dynasty court painting, early 18th century. When Yongzheng was still a prince, he commissioned a beautiful set of paintings for the purpose of decorating a screen in the Deep Willows Reading Hall, a study within his private quarters at the Summer Palace. An imperial garden to the northwest of Beijing, the Summer Palace was presented to the young prince in 1709 by his father the Kangxi emperor (r. 1662-1722).

RM2Y2X629–Scene from Dream of the Red Chamber by Cao Xueqin (1710-1765) painted by Qing Dynasty artist Sun Wen (1818-1904) using traditional Chinese brushwork to convey this classical novel's central themes of love, fate, and social hierarchy.

The 'December of the Moon' is a complete set of twelve, depicting the age, from the first lunar month to the December of the lunar calendar, the folk Stock Photo

RFT4KGEG–The 'December of the Moon' is a complete set of twelve, depicting the age, from the first lunar month to the December of the lunar calendar, the folk

Emperor's Jifu (Semiformal Court Robe), China, Qing dynasty (1644-1911), 1825/50. Stock Photo

RM2H2HWC8–Emperor's Jifu (Semiformal Court Robe), China, Qing dynasty (1644-1911), 1825/50.

RF2HDD167–Antique Chinese Export Painting on Pith Paper Depicting a Court Official in Embroidered Dragon Robe and Manchu Headwear. 19th Century, Qing Dynasty

Antique Chinese Export Pith Painting of the Daoguang Emperor. 19th Century, Qing Dynasty Stock Photo

RF2HBG359–Antique Chinese Export Pith Painting of the Daoguang Emperor. 19th Century, Qing Dynasty

RF2HBG35C–Antique Chinese Export Pith Painting of the Daoguang Emperor. 19th Century, Qing Dynasty

RM2RM6MT5–(140121) -- NANJING, Jan. 21, 2014 (Xinhua) -- A visitor takes photos of the equine-themed painting Eight Gallant Horses by Ignatius Sichelbarth, an 18th-century Jesuit missionary who worked for the court of the Qing Dynasty (1644-1911 AD), during the preview of Galloping Horses: An Exhibition of Nanjing Museum s Equine Relics Collection at the Nanjing Museum in Nanjing, capital of east China s Jiangsu Province, Jan. 21, 2014. Featuring relics with equine shapes or patterns throughout history, the exhibition is held to mark the upcoming Year of the Horse, which falls on Jan. 31, 2014. (Xinhua/

Chinese Emperor, The Qianlong Emperor (b.1711-d.1799), portrait in court dress as a young man, hanging scroll, 1800-1899 Stock Photo

RM2FMXCW7–Chinese Emperor, The Qianlong Emperor (b.1711-d.1799), portrait in court dress as a young man, hanging scroll, 1800-1899

Palaces of the Immortals. Artist: Xu Yang (Chinese, active ca. 1750-after 1776). Culture: China. Dimensions: Image: 6 1/4 x 18 1/2 in. (15.9 x 47 cm) Sheet: 15 × 24 1/2 in. (38.1 × 62.2 cm). Date: dated 1753. Xu Yang was recruited as a court painter in 1751 and became one of the Qianlong Emperor's leading artists, culminating with his being selected in 1764 to execute the Qianlong Southern Inspection Tour. This intimate fan painting shows Xu working in a miniaturist style and a decorative blue-and-green technique that differs markedly from his typically grand imperial commissions. According Stock Photo

RMPAPP3T–Palaces of the Immortals. Artist: Xu Yang (Chinese, active ca. 1750-after 1776). Culture: China. Dimensions: Image: 6 1/4 x 18 1/2 in. (15.9 x 47 cm) Sheet: 15 × 24 1/2 in. (38.1 × 62.2 cm). Date: dated 1753. Xu Yang was recruited as a court painter in 1751 and became one of the Qianlong Emperor's leading artists, culminating with his being selected in 1764 to execute the Qianlong Southern Inspection Tour. This intimate fan painting shows Xu working in a miniaturist style and a decorative blue-and-green technique that differs markedly from his typically grand imperial commissions. According

China: 'Viewing Snow by the Side of a Brazier', from the Yongzheng shier meiren tu or 'Twelve Beauties of Prince Yong', Qing Dynasty court painting, early 18th century. When Yongzheng was still a prince, he commissioned a beautiful set of paintings for the purpose of decorating a screen in the Deep Willows Reading Hall, a study within his private quarters at the Summer Palace. An imperial garden to the northwest of Beijing, the Summer Palace was presented to the young prince in 1709 by his father the Kangxi emperor (r. 1662-1722). Stock Photo

RM2B0342T–China: 'Viewing Snow by the Side of a Brazier', from the Yongzheng shier meiren tu or 'Twelve Beauties of Prince Yong', Qing Dynasty court painting, early 18th century. When Yongzheng was still a prince, he commissioned a beautiful set of paintings for the purpose of decorating a screen in the Deep Willows Reading Hall, a study within his private quarters at the Summer Palace. An imperial garden to the northwest of Beijing, the Summer Palace was presented to the young prince in 1709 by his father the Kangxi emperor (r. 1662-1722).

RM2Y2X6JF–Scene from Dream of the Red Chamber by Cao Xueqin (1710-1765) painted by Qing Dynasty artist Sun Wen (1818-1904) using traditional Chinese brushwork to convey this classical novel's central themes of love, fate, and social hierarchy.

RFT4M9TR–The 'December of the Moon' is a complete set of twelve, depicting the age, from the first lunar month to the December of the lunar calendar, the folk

Screen with European Figures (obverse) and Landscape (reverse) with Stand, 1736-1795. On the obverse side of this two-sided table screen is an enamel-painted copper plaque with European figures. The image is probably derived from prints. European enamelware was introduced to China through missionary-artists at the Beijing court and foreign trade in Guangzhou. On the reverse side is a glass painting of architectural landscape in the Chinese style. At the Qing court, imperial commands made possible artistic collaboration and the incorporation of different artistic expressions in a single artwork Stock Photo

RM2A523NC–Screen with European Figures (obverse) and Landscape (reverse) with Stand, 1736-1795. On the obverse side of this two-sided table screen is an enamel-painted copper plaque with European figures. The image is probably derived from prints. European enamelware was introduced to China through missionary-artists at the Beijing court and foreign trade in Guangzhou. On the reverse side is a glass painting of architectural landscape in the Chinese style. At the Qing court, imperial commands made possible artistic collaboration and the incorporation of different artistic expressions in a single artwork

Vase with landscape scenes. Culture: China. Dimensions: H. 29 in. (73.7 cm). Date: late 17th century. This idyllic landscape enjoyed by scholar-gentlemen directly recalls contemporaneous court paintings that evoke tenth- and eleventh-century traditions. Museum: Metropolitan Museum of Art, New York, USA. Stock Photo

RMPAY5GC–Vase with landscape scenes. Culture: China. Dimensions: H. 29 in. (73.7 cm). Date: late 17th century. This idyllic landscape enjoyed by scholar-gentlemen directly recalls contemporaneous court paintings that evoke tenth- and eleventh-century traditions. Museum: Metropolitan Museum of Art, New York, USA.

China: 'Watching Butterflies Pass in the Summer' from the Yongzheng shier meiren tu or 'Twelve Beauties of Prince Yong', Qing Dynasty court painting, early 18th century. When Yongzheng was still a prince, he commissioned a beautiful set of paintings for the purpose of decorating a screen in the Deep Willows Reading Hall, a study within his private quarters at the Summer Palace. An imperial garden to the northwest of Beijing, the Summer Palace was presented to the young prince in 1709 by his father the Kangxi emperor (r. 1662-1722). Stock Photo

RM2B0343C–China: 'Watching Butterflies Pass in the Summer' from the Yongzheng shier meiren tu or 'Twelve Beauties of Prince Yong', Qing Dynasty court painting, early 18th century. When Yongzheng was still a prince, he commissioned a beautiful set of paintings for the purpose of decorating a screen in the Deep Willows Reading Hall, a study within his private quarters at the Summer Palace. An imperial garden to the northwest of Beijing, the Summer Palace was presented to the young prince in 1709 by his father the Kangxi emperor (r. 1662-1722).

RM2Y2X75E–Scene from Dream of the Red Chamber by Cao Xueqin (1710-1765) painted by Qing Dynasty artist Sun Wen (1818-1904) using traditional Chinese brushwork to convey this classical novel's central themes of love, fate, and social hierarchy.

RFT4MA5F–The 'December of the Moon' is a complete set of twelve, depicting the age, from the first lunar month to the December of the lunar calendar, the folk

Vase with Golden Pheasants, 1736-95. The flower-and-bird painting in this vase was intricately executed in coloured enamels, with careful modeling, shading, and blending of colours reflecting European influences through missionary-artists at the Qing court. The Jesuit artist Giuseppe Castiglione (1688-1766), in particular, exerted tremendous impact at the Qianlong academy. Stock Photo

RM2A52RWM–Vase with Golden Pheasants, 1736-95. The flower-and-bird painting in this vase was intricately executed in coloured enamels, with careful modeling, shading, and blending of colours reflecting European influences through missionary-artists at the Qing court. The Jesuit artist Giuseppe Castiglione (1688-1766), in particular, exerted tremendous impact at the Qianlong academy.

Ewer in Shape of Tibetan Monk's Cap. Culture: China. Dimensions: H. with cover: 5 3/4 in. (14.6 cm); Diam. 3 3/4 in. (9.5 cm). Date: mid-18th century. This shape was introduced to the repertory of Chinese ceramics in the fourteenth century due in part to the prominence of Tibetan monks and practices at the Mongol Yuan (1271-1368) court. Museum: Metropolitan Museum of Art, New York, USA. Stock Photo

RMPATH6T–Ewer in Shape of Tibetan Monk's Cap. Culture: China. Dimensions: H. with cover: 5 3/4 in. (14.6 cm); Diam. 3 3/4 in. (9.5 cm). Date: mid-18th century. This shape was introduced to the repertory of Chinese ceramics in the fourteenth century due in part to the prominence of Tibetan monks and practices at the Mongol Yuan (1271-1368) court. Museum: Metropolitan Museum of Art, New York, USA.

China: 'Standing and Holding a ruyi Sceptre', from the Yongzheng shier meiren tu or 'Twelve Beauties of Prince Yong', Qing Dynasty court painting, early 18th century. When Yongzheng was still a prince, he commissioned a beautiful set of paintings for the purpose of decorating a screen in the Deep Willows Reading Hall, a study within his private quarters at the Summer Palace. An imperial garden to the northwest of Beijing, the Summer Palace was presented to the young prince in 1709 by his father the Kangxi emperor (r. 1662-1722). Stock Photo

RM2B0342P–China: 'Standing and Holding a ruyi Sceptre', from the Yongzheng shier meiren tu or 'Twelve Beauties of Prince Yong', Qing Dynasty court painting, early 18th century. When Yongzheng was still a prince, he commissioned a beautiful set of paintings for the purpose of decorating a screen in the Deep Willows Reading Hall, a study within his private quarters at the Summer Palace. An imperial garden to the northwest of Beijing, the Summer Palace was presented to the young prince in 1709 by his father the Kangxi emperor (r. 1662-1722).

RM2Y2X67M–Scene from Dream of the Red Chamber by Cao Xueqin (1710-1765) painted by Qing Dynasty artist Sun Wen (1818-1904) using traditional Chinese brushwork to convey this classical novel's central themes of love, fate, and social hierarchy.

RFT4MA38–The 'December of the Moon' is a complete set of twelve, depicting the age, from the first lunar month to the December of the lunar calendar, the folk

Portrait of an Official, 1600s-1700s. During the Joseon period, portraiture was a popular painting genre. Families used these painted images in their ancestor-worship rites. Portraits of kings and their loyal retainers were also commissioned. This imposing figure was probably a court official, because he wears a black-lacquered horsehair cap and a lavishly embroidered panel appears on his robe. The appearance of both hands—a rare feature in official Korean portraiture—adds a note of individuality. Stock Photo

RM2A51Y87–Portrait of an Official, 1600s-1700s. During the Joseon period, portraiture was a popular painting genre. Families used these painted images in their ancestor-worship rites. Portraits of kings and their loyal retainers were also commissioned. This imposing figure was probably a court official, because he wears a black-lacquered horsehair cap and a lavishly embroidered panel appears on his robe. The appearance of both hands—a rare feature in official Korean portraiture—adds a note of individuality.

Chinese prince receiving courier. Museum: PRIVATE COLLECTION. Author: Chinese Master. Stock Photo

RMRCXGK2–Chinese prince receiving courier. Museum: PRIVATE COLLECTION. Author: Chinese Master.

China: 'Leaning on a Couch Watching Magpies', from the Yongzheng shier meiren tu or 'Twelve Beauties of Prince Yong', Qing Dynasty court painting, early 18th century. When Yongzheng was still a prince, he commissioned a beautiful set of paintings for the purpose of decorating a screen in the Deep Willows Reading Hall, a study within his private quarters at the Summer Palace. An imperial garden to the northwest of Beijing, the Summer Palace was presented to the young prince in 1709 by his father the Kangxi emperor (r. 1662-1722). Stock Photo

RM2B0342R–China: 'Leaning on a Couch Watching Magpies', from the Yongzheng shier meiren tu or 'Twelve Beauties of Prince Yong', Qing Dynasty court painting, early 18th century. When Yongzheng was still a prince, he commissioned a beautiful set of paintings for the purpose of decorating a screen in the Deep Willows Reading Hall, a study within his private quarters at the Summer Palace. An imperial garden to the northwest of Beijing, the Summer Palace was presented to the young prince in 1709 by his father the Kangxi emperor (r. 1662-1722).

RM2Y2X4W9–Scene from Dream of the Red Chamber by Cao Xueqin (1710-1765) painted by Qing Dynasty artist Sun Wen (1818-1904) using traditional Chinese brushwork to convey this classical novel's central themes of love, fate, and social hierarchy.

RFT4MA3M–The 'December of the Moon' is a complete set of twelve, depicting the age, from the first lunar month to the December of the lunar calendar, the folk

Chinese prince receiving courier, ca 1820. Artist: Chinese Master Stock Photo

RMDT8XH8–Chinese prince receiving courier, ca 1820. Artist: Chinese Master

Wu Yong (Chitasei Goyo), from the series 'One Hundred and Eight Heroes of the Popular Water Margin (Tsuzoku Suikoden goketsu hyakuhachinin no hitori)'. Utagawa Kuniyoshi; Japanese, 1797-1861. Date: 1822-1835. Dimensions: 37.4 x 25.4 cm (14 3/4 x 10 in.). Color woodblock print; oban. Origin: Japan. Museum: The Chicago Art Institute. Stock Photo

RMRX56B8–Wu Yong (Chitasei Goyo), from the series 'One Hundred and Eight Heroes of the Popular Water Margin (Tsuzoku Suikoden goketsu hyakuhachinin no hitori)'. Utagawa Kuniyoshi; Japanese, 1797-1861. Date: 1822-1835. Dimensions: 37.4 x 25.4 cm (14 3/4 x 10 in.). Color woodblock print; oban. Origin: Japan. Museum: The Chicago Art Institute.

China: 'Leaning in a Doorway while Viewing Bamboo', from the Yongzheng shier meiren tu or 'Twelve Beauties of Prince Yong', Qing Dynasty court painting, early 18th century. When Yongzheng was still a prince, he commissioned a beautiful set of paintings for the purpose of decorating a screen in the Deep Willows Reading Hall, a study within his private quarters at the Summer Palace. An imperial garden to the northwest of Beijing, the Summer Palace was presented to the young prince in 1709 by his father the Kangxi emperor (r. 1662-1722). Stock Photo

RM2B0343B–China: 'Leaning in a Doorway while Viewing Bamboo', from the Yongzheng shier meiren tu or 'Twelve Beauties of Prince Yong', Qing Dynasty court painting, early 18th century. When Yongzheng was still a prince, he commissioned a beautiful set of paintings for the purpose of decorating a screen in the Deep Willows Reading Hall, a study within his private quarters at the Summer Palace. An imperial garden to the northwest of Beijing, the Summer Palace was presented to the young prince in 1709 by his father the Kangxi emperor (r. 1662-1722).

RM2Y2X66K–Scene from Dream of the Red Chamber by Cao Xueqin (1710-1765) painted by Qing Dynasty artist Sun Wen (1818-1904) using traditional Chinese brushwork to convey this classical novel's central themes of love, fate, and social hierarchy.

RFT4MA1R–The 'December of the Moon' is a complete set of twelve, depicting the age, from the first lunar month to the December of the lunar calendar, the folk

China: 'Sipping Tea under a Pauwlonia Tree', from the Yongzheng shier meiren tu or 'Twelve Beauties of Prince Yong', Qing Dynasty court painting, early 18th century. When Yongzheng was still a prince, he commissioned a beautiful set of paintings for the purpose of decorating a screen in the Deep Willows Reading Hall, a study within his private quarters at the Summer Palace. An imperial garden to the northwest of Beijing, the Summer Palace was presented to the young prince in 1709 by his father the Kangxi emperor (r. 1662-1722). Stock Photo

RM2B03431–China: 'Sipping Tea under a Pauwlonia Tree', from the Yongzheng shier meiren tu or 'Twelve Beauties of Prince Yong', Qing Dynasty court painting, early 18th century. When Yongzheng was still a prince, he commissioned a beautiful set of paintings for the purpose of decorating a screen in the Deep Willows Reading Hall, a study within his private quarters at the Summer Palace. An imperial garden to the northwest of Beijing, the Summer Palace was presented to the young prince in 1709 by his father the Kangxi emperor (r. 1662-1722).

RM2Y2X58Y–Scene from Dream of the Red Chamber by Cao Xueqin (1710-1765) painted by Qing Dynasty artist Sun Wen (1818-1904) using traditional Chinese brushwork to convey this classical novel's central themes of love, fate, and social hierarchy.

RFT4M9XE–The 'December of the Moon' is a complete set of twelve, depicting the age, from the first lunar month to the December of the lunar calendar, the folk

China: 'Sitting Beside Chrysanthemums and Holding a Pocket Watch', from the Yongzheng shier meiren tu or 'Twelve Beauties of Prince Yong', Qing Dynasty court painting, early 18th century. When Yongzheng was still a prince, he commissioned a beautiful set of paintings for the purpose of decorating a screen in the Deep Willows Reading Hall, a study within his private quarters at the Summer Palace. An imperial garden to the northwest of Beijing, the Summer Palace was presented to the young prince in 1709 by his father the Kangxi emperor (r. 1662-1722). Stock Photo

RM2B0342X–China: 'Sitting Beside Chrysanthemums and Holding a Pocket Watch', from the Yongzheng shier meiren tu or 'Twelve Beauties of Prince Yong', Qing Dynasty court painting, early 18th century. When Yongzheng was still a prince, he commissioned a beautiful set of paintings for the purpose of decorating a screen in the Deep Willows Reading Hall, a study within his private quarters at the Summer Palace. An imperial garden to the northwest of Beijing, the Summer Palace was presented to the young prince in 1709 by his father the Kangxi emperor (r. 1662-1722).

RM2Y2X6H2–Scene from Dream of the Red Chamber by Cao Xueqin (1710-1765) painted by Qing Dynasty artist Sun Wen (1818-1904) using traditional Chinese brushwork to convey this classical novel's central themes of love, fate, and social hierarchy.

RFT4M9YM–The 'December of the Moon' is a complete set of twelve, depicting the age, from the first lunar month to the December of the lunar calendar, the folk

China: 'Dressed in a Fur-Lined Coat and Looking in a Mirror', from the Yongzheng shier meiren tu or 'Twelve Beauties of Prince Yong', Qing Dynasty court painting, early 18th century. When Yongzheng was still a prince, he commissioned a beautiful set of paintings for the purpose of decorating a screen in the Deep Willows Reading Hall, a study within his private quarters at the Summer Palace. An imperial garden to the northwest of Beijing, the Summer Palace was presented to the young prince in 1709 by his father the Kangxi emperor (r. 1662-1722). Stock Photo

RM2B0343D–China: 'Dressed in a Fur-Lined Coat and Looking in a Mirror', from the Yongzheng shier meiren tu or 'Twelve Beauties of Prince Yong', Qing Dynasty court painting, early 18th century. When Yongzheng was still a prince, he commissioned a beautiful set of paintings for the purpose of decorating a screen in the Deep Willows Reading Hall, a study within his private quarters at the Summer Palace. An imperial garden to the northwest of Beijing, the Summer Palace was presented to the young prince in 1709 by his father the Kangxi emperor (r. 1662-1722).

RM2Y2X516–Scene from Dream of the Red Chamber by Cao Xueqin (1710-1765) painted by Qing Dynasty artist Sun Wen (1818-1904) using traditional Chinese brushwork to convey this classical novel's central themes of love, fate, and social hierarchy.

China: Hand-painted representation of mistress and servant in 19th century Qing Dynasty high society. Scenes of service from a small album known as 'Chinese Drawings: Court and Society', showing contemporaneous style and fashion at the Qing Court. The Qing Dynasty was the last dynasty of China, ruling from 1644 to 1912. Qing rulers were of the Jurchen Aisin Gioro clan, a nomadic tribe that originated northeast of the Great Wall in contemporary Northeastern China. Over the course of its reign, the Qing became highly integrated with Chinese culture. Stock Photo

RM2B01HAG–China: Hand-painted representation of mistress and servant in 19th century Qing Dynasty high society. Scenes of service from a small album known as 'Chinese Drawings: Court and Society', showing contemporaneous style and fashion at the Qing Court. The Qing Dynasty was the last dynasty of China, ruling from 1644 to 1912. Qing rulers were of the Jurchen Aisin Gioro clan, a nomadic tribe that originated northeast of the Great Wall in contemporary Northeastern China. Over the course of its reign, the Qing became highly integrated with Chinese culture.

RFT4MA4P–The 'December of the Moon' is a complete set of twelve, depicting the age, from the first lunar month to the December of the lunar calendar, the folk

RM2Y2X683–Scene from Dream of the Red Chamber by Cao Xueqin (1710-1765) painted by Qing Dynasty artist Sun Wen (1818-1904) using traditional Chinese brushwork to convey this classical novel's central themes of love, fate, and social hierarchy.

China: Hand-painted representation of master and servant in 19th century Qing Dynasty high society. Scenes of service from a small album known as 'Chinese Drawings: Court and Society', showing contemporaneous style and fashion at the Qing Court. The Qing Dynasty was the last dynasty of China, ruling from 1644 to 1912. Qing rulers were of the Jurchen Aisin Gioro clan, a nomadic tribe that originated northeast of the Great Wall in contemporary Northeastern China. Over the course of its reign, the Qing became highly integrated with Chinese culture. Stock Photo

RM2B01HAW–China: Hand-painted representation of master and servant in 19th century Qing Dynasty high society. Scenes of service from a small album known as 'Chinese Drawings: Court and Society', showing contemporaneous style and fashion at the Qing Court. The Qing Dynasty was the last dynasty of China, ruling from 1644 to 1912. Qing rulers were of the Jurchen Aisin Gioro clan, a nomadic tribe that originated northeast of the Great Wall in contemporary Northeastern China. Over the course of its reign, the Qing became highly integrated with Chinese culture.

RFT4MA61–The 'December of the Moon' is a complete set of twelve, depicting the age, from the first lunar month to the December of the lunar calendar, the folk

RM2Y2X6BR–Scene from Dream of the Red Chamber by Cao Xueqin (1710-1765) painted by Qing Dynasty artist Sun Wen (1818-1904) using traditional Chinese brushwork to convey this classical novel's central themes of love, fate, and social hierarchy.

RM2B01HAR–China: Hand-painted representation of master and servant in 19th century Qing Dynasty high society. Scenes of service from a small album known as 'Chinese Drawings: Court and Society', showing contemporaneous style and fashion at the Qing Court. The Qing Dynasty was the last dynasty of China, ruling from 1644 to 1912. Qing rulers were of the Jurchen Aisin Gioro clan, a nomadic tribe that originated northeast of the Great Wall in contemporary Northeastern China. Over the course of its reign, the Qing became highly integrated with Chinese culture.

RFT4MA2B–The 'December of the Moon' is a complete set of twelve, depicting the age, from the first lunar month to the December of the lunar calendar, the folk

RM2Y2X4TE–Scene from Dream of the Red Chamber by Cao Xueqin (1710-1765) painted by Qing Dynasty artist Sun Wen (1818-1904) using traditional Chinese brushwork to convey this classical novel's central themes of love, fate, and social hierarchy.

RM2B01HB2–China: Hand-painted representation of mistress and servant in 19th century Qing Dynasty high society. Scenes of service from a small album known as 'Chinese Drawings: Court and Society', showing contemporaneous style and fashion at the Qing Court. The Qing Dynasty was the last dynasty of China, ruling from 1644 to 1912. Qing rulers were of the Jurchen Aisin Gioro clan, a nomadic tribe that originated northeast of the Great Wall in contemporary Northeastern China. Over the course of its reign, the Qing became highly integrated with Chinese culture.

RFT4MA0E–The 'December of the Moon' is a complete set of twelve, depicting the age, from the first lunar month to the December of the lunar calendar, the folk

RM2Y2X52R–Scene from Dream of the Red Chamber by Cao Xueqin (1710-1765) painted by Qing Dynasty artist Sun Wen (1818-1904) using traditional Chinese brushwork to convey this classical novel's central themes of love, fate, and social hierarchy.

RM2B01HB0–China: Hand-painted representation of master and servant in 19th century Qing Dynasty high society. Scenes of service from a small album known as 'Chinese Drawings: Court and Society', showing contemporaneous style and fashion at the Qing Court. The Qing Dynasty was the last dynasty of China, ruling from 1644 to 1912. Qing rulers were of the Jurchen Aisin Gioro clan, a nomadic tribe that originated northeast of the Great Wall in contemporary Northeastern China. Over the course of its reign, the Qing became highly integrated with Chinese culture.

RM2Y2X51M–Scene from Dream of the Red Chamber by Cao Xueqin (1710-1765) painted by Qing Dynasty artist Sun Wen (1818-1904) using traditional Chinese brushwork to convey this classical novel's central themes of love, fate, and social hierarchy.

RM2B01HAP–China: Hand-painted representation of mistress and servant in 19th century Qing Dynasty high society. Scenes of service from a small album known as 'Chinese Drawings: Court and Society', showing contemporaneous style and fashion at the Qing Court. The Qing Dynasty was the last dynasty of China, ruling from 1644 to 1912. Qing rulers were of the Jurchen Aisin Gioro clan, a nomadic tribe that originated northeast of the Great Wall in contemporary Northeastern China. Over the course of its reign, the Qing became highly integrated with Chinese culture.

RM2Y2X58C–Scene from Dream of the Red Chamber by Cao Xueqin (1710-1765) painted by Qing Dynasty artist Sun Wen (1818-1904) using traditional Chinese brushwork to convey this classical novel's central themes of love, fate, and social hierarchy.

RM2B01HAY–China: Hand-painted representation of master and servant in 19th century Qing Dynasty high society. Scenes of service from a small album known as 'Chinese Drawings: Court and Society', showing contemporaneous style and fashion at the Qing Court. The Qing Dynasty was the last dynasty of China, ruling from 1644 to 1912. Qing rulers were of the Jurchen Aisin Gioro clan, a nomadic tribe that originated northeast of the Great Wall in contemporary Northeastern China. Over the course of its reign, the Qing became highly integrated with Chinese culture.

RM2Y2X764–Scene from Dream of the Red Chamber by Cao Xueqin (1710-1765) painted by Qing Dynasty artist Sun Wen (1818-1904) using traditional Chinese brushwork to convey this classical novel's central themes of love, fate, and social hierarchy.

Qing dynasty court painting Stock Photos and Images

Qing dynasty court painting Stock Photos and Images

Download Confirmation

Password Confirmation

Search Results for Qing dynasty court painting Stock Photos and Images (359)

Filter by agency collections

Search builder

Get great features with your free account

Get inspired for your next project!