East Asia

This elaborate frontispiece from Athanasius Kircher's 'China Monumentis Illustrata' (1667) serves as a visual manifesto for the Jesuit mission in East Asia. It depicts the order's founders, Ignatius of Loyola and Francis Xavier, in celestial glory above the missionaries Matteo Ricci and Adam Schall von Bell, who hold a map of China. The composition highlights the intersection of religious devotion and scientific exploration that characterized the Jesuit presence in the Ming and Qing dynasties.

This frontispiece illustrates various Chinese conceptions of spiritual beings, contrasting fierce, horned demons with more serene, haloed figures. These depictions reflect the complex hierarchy of good and evil spirits in Chinese folk religion and philosophy as documented by J.J.M. de Groot in his seminal work.

This 1687 engraving from 'Confucius Sinarum Philosophus' is one of the most influential early European depictions of Confucius. Shown as a venerable sage within the 'Gymnasium Imperii' (Imperial Academy), he is surrounded by the foundational texts of Chinese philosophy, reflecting the Jesuit missionaries' project to translate and introduce Confucian thought to the Western world.

This detailed engraving depicts the Chinese philosopher Confucius standing within the 'Gymnasium Imperii,' or Imperial Academy. He is shown in traditional robes holding a ceremonial tablet, surrounded by an extensive library that symbolizes the depth of Confucian learning. This image, from Philippe Couplet's 'Confucius Sinarum Philosophus' (1687), represents a significant early European attempt to visualize and honor Chinese intellectual traditions for a Western audience.

This striking portrait depicts Laozi (Lào-tzeu), the legendary founder of Taoism and author of the Tao Te Ching. Rendered in an 'antique' style that mimics traditional Chinese stone rubbings, the image captures the sage with characteristic flowing robes and a contemplative expression. It serves as a visual representation of one of China's most influential philosophical and religious figures.

This vibrant illustration depicts Yue Fei (1103–1142), a celebrated Chinese military general and national hero of the Southern Song dynasty. He is shown in full ceremonial armor, adorned with dragon motifs and carrying his characteristic weapons, symbolizing his legendary loyalty and martial prowess. This image is part of Henri Doré's extensive documentation of Chinese folk beliefs and historical figures.

This tenth-century block print from the Caves of the Thousand Buddhas at Dunhuang depicts the Bodhisattva Manjusri seated on a lion. Below the celestial scene is a lengthy votive text, demonstrating the early integration of image and text in Chinese printing technology. Such prints were often produced as acts of religious merit and distributed to pilgrims at sacred sites.

This woodcut portrait depicts the Yongle Emperor (r. 1402–1424), the third ruler of the Ming Dynasty, known for moving the capital to Beijing and commissioning the Yongle Encyclopedia. He is shown in traditional imperial regalia, with a long, flowing beard and robes featuring intricate dragon patterns, symbolizing his supreme power. The image comes from the 'Sancai Tuhui', a monumental pictorial encyclopedia compiled by Wang Qi and Wang Siyi in 1609.

This evocative color plate, titled 'The Lovers who exchanged Fans,' depicts a romantic scene from Japanese folklore under the light of a full moon. The two figures, dressed in richly detailed traditional garments, are shown in a moment of quiet intimacy, reflecting the atmospheric storytelling characteristic of F. Hadland Davis's collection of Japanese myths.