Qianlong Dynasty Mongolian Related Image Research

This paper conducts case studies of three large-sized Tieluos(painted panels)located in the Chengde Mountain Resort,i.e.the Imperial Banquet in Wanshu Garden,the Horsemanship,and the Four Dinner Scenes beyond the Great Wall,through which it intends to investigate the depicted events,the figures of characters,the locations and spaces of the events,the space where the paintings are displayed,and the functions of the paintings themselves,whereby it further analyzes the relationship between the intentions underlying the layouts of these paintings,the spatial arrangements of the paintings’ display,and ethnic distinctions.With these analyses,this paper reveals the dynamic changes of Emperor Qianlong’s opinions about the Mongolian tribes,providing implications for the entire empires’ notions about territories and nations.This paper proposes that the Imperial Banquet in Wanshu Garden and the Horsemanship both record the scene of the surrender of the Olot Mongolian tribe,and both are displayed in the Quaneshengjing Palace inside the Chengde Mountain Resort.Its picture design is closely related to the spatial environment of the Quaneshengjing Palace.Additionally,the selection of the scene of "clothes changing" for depiction strengthens the actual ethnic attribute of Mongolian tribes,reflecting the significance Qianlong attached to Olot Mongols and the priority of Mongolian tribes in Manchu’s stratified structure of affinities with various ethnic groups.In these paintings,Qianlong,with the identity of "The Master of Tianxia";completes the subduing of Olot Mongols in a pictorial form,demonstrating the Qing Dynasty’s mighty control over various Mongolian tribes.As for the Four Dinner Scenes beyond the Great Wall which is closely related to the Mulan hunting,the event in the painting happened after Qianlong’s conquest of the Dzungar tribe,therefore the newly subordinated Olot Mongols also appears in the picture,indicating Olot’s actual submission to the Qing Dynasty and reflecting a change of Qianlong’s mentality.All these paintings record actual events once happened in the Chengde Mountain Resort and the Mulan Weichang,and they are displayed in the Mountain Resort,a most significant place where the Qing Dynasty deals with vassal state affairs.The depiction of Mongols in these paintings was profoundly related to Qianlong’s conquest of Olot Mongols and the entire Mongolian world,and it also evolved following the changes of Qianlong’s attitude towards the ethnic groups in this region.The figure shaping in these three paintings all imply Qianlong’s ideas about nation and country considerably different from those of Emperor Kangxi and Emperor Yongzheng,and reflect his confidence and accomplishments of transforming the Olot Mongols from "foreign" to "Mongolian" and from "external" to "internal",and incorporating the chaotic Mongolian tribes into the territory of the Qing Dynasty.