Читать книгу Imperial Illusions - Kristina Kleutghen - Страница 67

and power of such paintings in China. Even the highly educated Chinese who recorded their responses to quadratura seem to have been entirely unaware of the Chinese tradition of deceptive illusionistic murals.¹⁰³ Dunhuang’s Mogao Caves and Song palace murals had long been forgotten, tomb murals were out of fashion, and temple murals did not factor into the discussion; even the textual records of illusionism had been forgotten. This lapse in the Chinese art-historical memory, born largely out of literati aesthetics, is what makes the development of perspectival scenic illusion paintings at the Yongzheng court and their efflorescence at the Qianlong court seem like such a departure from the history of Chinese painting, when in fact they are inseparable from that narrative.