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The Fragrant Concubine (Chinese: Xiāngfēi; Uyghur: Iparxan, Khoja Iparhan) is a figure in Chinese legend who was taken as a consort by the Qianlong Emperor during the 18th century. Although the stories about her are believed to be mythical, they may have been based on an actual concubine from western China who entered the harem of the emperor in 1760 and who carried the court title of Rong Fei.<br/><br/> Some suggest, however, that Imperial Consort Rong (whose original name may have been Maimur Azum) and Imperial Consort Xiang were different women. Han Chinese and Uyghur tellings of the legend of the Fragrant Concubine diverge greatly, and her experience represents a powerful symbol for both peoples. The story became greatly popular during the early 20th century and has since been adapted into several plays, films, and books.
In 1788 a large Qing army was sent south to restore Lê Mẫn Đế (Lê Chiêu Thống) to the Vietnamese throne. They succeeded in taking Thăng Long (Hà Nội, Hanoi) and putting Emperor Lê Chiêu Thống back on the throne.<br/><br/> This situation did not last long as the Tây Sơn leader, Nguyễn Huệ, launched an attack against the Qing forces while they were celebrating the Chinese New Year festival of the year 1789. The Chinese were completely defeated and Nguyễn Huệ was proclaimed Emperor Quang Trung of Vietnam, although he also agreed to pat tribute to the Qing court to avoid further invasions.<br/><br/> The painting is from the 'Ten Great Campaigns' series produced by Jesuit missionaries at the Qing Court including Giuseppe Castiglione, Jean-Denis Attiret, Ignace Sichelbart and Jean Damascene. The engravings were executed in Paris under the direction of Charles-Nicolas Cochin of the Académie Royal at the Court of Louis XVI and the individual engravers include Le Bas, Aliamet, Prevot, Saint-Aubin, Masquelier, Choffard, and Launay.
In 1788 a large Qing army was sent south to restore Lê Mẫn Đế (Lê Chiêu Thống) to the Vietnamese throne. They succeeded in taking Thăng Long (Hà Nội, Hanoi) and putting Emperor Lê Chiêu Thống back on the throne.<br/><br/> This situation did not last long as the Tây Sơn leader, Nguyễn Huệ, launched an attack against the Qing forces while they were celebrating the Chinese New Year festival of the year 1789. The Chinese were completely defeated and Nguyễn Huệ was proclaimed Emperor Quang Trung of Vietnam, although he also agreed to pat tribute to the Qing court to avoid further invasions.<br/><br/> The painting is from the 'Ten Great Campaigns' series produced by Jesuit missionaries at the Qing Court including Giuseppe Castiglione, Jean-Denis Attiret, Ignace Sichelbart and Jean Damascene. The engravings were executed in Paris under the direction of Charles-Nicolas Cochin of the Académie Royal at the Court of Louis XVI and the individual engravers include Le Bas, Aliamet, Prevot, Saint-Aubin, Masquelier, Choffard, and Launay.
In 1788 a large Qing army was sent south to restore Lê Mẫn Đế (Lê Chiêu Thống) to the Vietnamese throne. They succeeded in taking Thăng Long (Hà Nội, Hanoi) and putting Emperor Lê Chiêu Thống back on the throne.<br/><br/> This situation did not last long as the Tây Sơn leader, Nguyễn Huệ, launched an attack against the Qing forces while they were celebrating the Chinese New Year festival of the year 1789. The Chinese were completely defeated and Nguyễn Huệ was proclaimed Emperor Quang Trung of Vietnam, although he also agreed to pat tribute to the Qing court to avoid further invasions.<br/><br/> The painting is from the 'Ten Great Campaigns' series produced by Jesuit missionaries at the Qing Court including Giuseppe Castiglione, Jean-Denis Attiret, Ignace Sichelbart and Jean Damascene. The engravings were executed in Paris under the direction of Charles-Nicolas Cochin of the Académie Royal at the Court of Louis XVI and the individual engravers include Le Bas, Aliamet, Prevot, Saint-Aubin, Masquelier, Choffard, and Launay.
In 1788 a large Qing army was sent south to restore Lê Mẫn Đế (Lê Chiêu Thống) to the Vietnamese throne. They succeeded in taking Thăng Long (Hà Nội, Hanoi) and putting Emperor Lê Chiêu Thống back on the throne.<br/><br/> This situation did not last long as the Tây Sơn leader, Nguyễn Huệ, launched an attack against the Qing forces while they were celebrating the Chinese New Year festival of the year 1789. The Chinese were completely defeated and Nguyễn Huệ was proclaimed Emperor Quang Trung of Vietnam, although he also agreed to pat tribute to the Qing court to avoid further invasions.<br/><br/> The painting is from the 'Ten Great Campaigns' series produced by Jesuit missionaries at the Qing Court including Giuseppe Castiglione, Jean-Denis Attiret, Ignace Sichelbart and Jean Damascene. The engravings were executed in Paris under the direction of Charles-Nicolas Cochin of the Académie Royal at the Court of Louis XVI and the individual engravers include Le Bas, Aliamet, Prevot, Saint-Aubin, Masquelier, Choffard, and Launay.
In 1788 a large Qing army was sent south to restore Lê Mẫn Đế (Lê Chiêu Thống) to the Vietnamese throne. They succeeded in taking Thăng Long (Hà Nội, Hanoi) and putting Emperor Lê Chiêu Thống back on the throne.<br/><br/> This situation did not last long as the Tây Sơn leader, Nguyễn Huệ, launched an attack against the Qing forces while they were celebrating the Chinese New Year festival of the year 1789. The Chinese were completely defeated and Nguyễn Huệ was proclaimed Emperor Quang Trung of Vietnam, although he also agreed to pat tribute to the Qing court to avoid further invasions.<br/><br/> The painting is from the 'Ten Great Campaigns' series produced by Jesuit missionaries at the Qing Court including Giuseppe Castiglione, Jean-Denis Attiret, Ignace Sichelbart and Jean Damascene. The engravings were executed in Paris under the direction of Charles-Nicolas Cochin of the Académie Royal at the Court of Louis XVI and the individual engravers include Le Bas, Aliamet, Prevot, Saint-Aubin, Masquelier, Choffard, and Launay.
In 1703, Chengde was chosen by the Kangxi Emperor as the location for his summer residence. Constructed throughout the eighteenth century, the Mountain Resort was used by both the Yongzheng and Qianlong emperors. The site is currently an UNESCO World Heritage Site. Since the seat of government followed the emperor, Chengde was a political center of the Chinese empire during these times.<br/><br/> Chengde, formerly known as Jehol, reached its height under the Qianlong Emperor 1735-1796 (died 1799). The great monastery temple of the Potala, loosely based on the famous Potala in Lhasa, was completed after just four years of work in 1771. It was heavily decorated with gold and the emperor worshipped in the Golden Pavilion. In the temple itself was a bronze-gilt statue of Tsongkhapa, the Reformer of the Gelugpa sect.
The Fragrant Concubine (Chinese: Xiāngfēi; Uyghur: Iparxan, Khoja Iparhan) is a figure in Chinese legend who was taken as a consort by the Qianlong Emperor during the 18th century. Although the stories about her are believed to be mythical, they may have been based on an actual concubine from western China who entered the harem of the emperor in 1760 and who carried the court title of Rong Fei. Some suggest, however, that Imperial Consort Rong (whose original name may have been Maimur Azum) and Imperial Consort Xiang were different women. Han Chinese and Uyghur tellings of the legend of the Fragrant Concubine diverge greatly, and her experience represents a powerful symbol for both peoples. The story became greatly popular during the early 20th century and has since been adapted into several plays, films, and books.
The Qianlong Emperor (Chinese pinyin: Qianlong Di; Wade–Giles: Chien-lung Ti) was the sixth emperor of the Manchu-led Qing Dynasty, and the fourth Qing emperor to rule over China proper. The fourth son of the Yongzheng Emperor, he reigned officially from 11 October 1736 to 7 February 1795. On 8 February (the first day of that lunar year), he abdicated in favor of his son, the Jiaqing Emperor - a filial act in order not to reign longer than his grandfather, the illustrious Kangxi Emperor. Despite his retirement, however, he retained ultimate power until his death in 1799. Although his early years saw the continuity of an era of prosperity in China, he held an unrelentingly conservative attitude. As a result, the Qing Dynasty's comparative decline began later in his reign.
The Qianlong Emperor (Chinese pinyin: Qianlong Di; Wade–Giles: Chien-lung Ti; Mongolian: Tengeriin Tetgesen Khaan, Manchu: Abkai Wehiyehe, Tibetan: lha skyong rgyal po), born Hongli (25 September 1711 – 7 February 1799) was the fifth emperor of the Manchu-led Qing Dynasty, and the fourth Qing emperor to rule over China proper.<br/><br/> The fourth son of the Yongzheng Emperor, he reigned officially from 11 October 1736 to 7 February 1795. On 8 February (the first day of that lunar year), he abdicated in favor of his son, the Jiaqing Emperor - a filial act in order not to reign longer than his grandfather, the illustrious Kangxi Emperor. Despite his retirement, however, he retained ultimate power until his death in 1799. Although his early years saw the continuity of an era of prosperity in China, he held an unrelentingly conservative attitude. As a result, the Qing Dynasty's comparative decline began later in his reign.