The Qianlong Emperor's Southern Inspection Tour Scroll Six Analysis

“The Qianlong Emperor’s Southern Inspection Tour Scroll Six” is a large painting with 15 separate scenes. Its accession number is 1988.350a-d. It was created by the Chinese artist Xu Yang in 1770 and is painted in ink and color on a very wide silk cloth. It is 27 1/8 in height or more than two feet high and 784 ½ inches in width, making it larger and enormous in width. Each scene resembles a large flat screen filling a whole wall. The locations are outside. Other scenes show lines of people, or groups of people shopping at markets and stores. In one scene, the view is from a long distance of a village scene in a non-dramatic linear perspective. There is a thin strip of foggy sky in a greyish dull pale blue color at the top, and a large horizontal oval shaped pond surrounded by what seems to be twenty or so small and detailed maple trees. The dull nature colors do not show much contrast. The brush strokes are very small and show and enormous amount of detail in the nature landscape, as well as the temples and other buildings
In the painting, which was the widest scroll of the twelve, the pond, which is very sturdy, large …show more content…
Buying, selling, and trading between Beijing and China internationally grew but became a problem at the end of the dynasty. Beijing traded tea, silk, which was heavily manufactured in Suzhou, and silver to other countries. China imported maize and peanuts from America. The Yangtze and Yellow River are attached to different ends of the Grand Canal. In the scenes, the people celebrate, sing and dance, and lift lanterns as he enters the city through the Chang Gate. The foggy landscape remains great in size and distance to emphasize the emperor and his power. The mist separated the foreground to also show the large landscape. It shows great amount of detail of the shops, peoples, trees and nature, gardens, houses, temples, and a cruise ship. The people look realistic and there is a linear