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Phoebus 6-2 300...212 Chinese Painting under the Qianlong Emperor conceptual framework for eighteenth-century painting.s In fact, I see pointed parallels between themes and approaches

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Page 1: Phoebus 6-2 300...212 Chinese Painting under the Qianlong Emperor conceptual framework for eighteenth-century painting.s In fact, I see pointed parallels between themes and approaches
Page 2: Phoebus 6-2 300...212 Chinese Painting under the Qianlong Emperor conceptual framework for eighteenth-century painting.s In fact, I see pointed parallels between themes and approaches
Page 3: Phoebus 6-2 300...212 Chinese Painting under the Qianlong Emperor conceptual framework for eighteenth-century painting.s In fact, I see pointed parallels between themes and approaches
Page 4: Phoebus 6-2 300...212 Chinese Painting under the Qianlong Emperor conceptual framework for eighteenth-century painting.s In fact, I see pointed parallels between themes and approaches
Page 5: Phoebus 6-2 300...212 Chinese Painting under the Qianlong Emperor conceptual framework for eighteenth-century painting.s In fact, I see pointed parallels between themes and approaches
Page 6: Phoebus 6-2 300...212 Chinese Painting under the Qianlong Emperor conceptual framework for eighteenth-century painting.s In fact, I see pointed parallels between themes and approaches
Page 7: Phoebus 6-2 300...212 Chinese Painting under the Qianlong Emperor conceptual framework for eighteenth-century painting.s In fact, I see pointed parallels between themes and approaches
Page 8: Phoebus 6-2 300...212 Chinese Painting under the Qianlong Emperor conceptual framework for eighteenth-century painting.s In fact, I see pointed parallels between themes and approaches
Page 9: Phoebus 6-2 300...212 Chinese Painting under the Qianlong Emperor conceptual framework for eighteenth-century painting.s In fact, I see pointed parallels between themes and approaches
Page 10: Phoebus 6-2 300...212 Chinese Painting under the Qianlong Emperor conceptual framework for eighteenth-century painting.s In fact, I see pointed parallels between themes and approaches
Page 11: Phoebus 6-2 300...212 Chinese Painting under the Qianlong Emperor conceptual framework for eighteenth-century painting.s In fact, I see pointed parallels between themes and approaches
Page 12: Phoebus 6-2 300...212 Chinese Painting under the Qianlong Emperor conceptual framework for eighteenth-century painting.s In fact, I see pointed parallels between themes and approaches
Page 13: Phoebus 6-2 300...212 Chinese Painting under the Qianlong Emperor conceptual framework for eighteenth-century painting.s In fact, I see pointed parallels between themes and approaches
Page 14: Phoebus 6-2 300...212 Chinese Painting under the Qianlong Emperor conceptual framework for eighteenth-century painting.s In fact, I see pointed parallels between themes and approaches
Page 15: Phoebus 6-2 300...212 Chinese Painting under the Qianlong Emperor conceptual framework for eighteenth-century painting.s In fact, I see pointed parallels between themes and approaches
Page 16: Phoebus 6-2 300...212 Chinese Painting under the Qianlong Emperor conceptual framework for eighteenth-century painting.s In fact, I see pointed parallels between themes and approaches
Page 17: Phoebus 6-2 300...212 Chinese Painting under the Qianlong Emperor conceptual framework for eighteenth-century painting.s In fact, I see pointed parallels between themes and approaches
Page 18: Phoebus 6-2 300...212 Chinese Painting under the Qianlong Emperor conceptual framework for eighteenth-century painting.s In fact, I see pointed parallels between themes and approaches
Page 19: Phoebus 6-2 300...212 Chinese Painting under the Qianlong Emperor conceptual framework for eighteenth-century painting.s In fact, I see pointed parallels between themes and approaches