Where Dragon Veins Meet

Whiteman's book is a valuable contribution to the history of the early Qing period, as well as to art history...When closing the book, one feels that its beautiful design and production, striking on first opening it, contribute to bringing to the fore the original and thought-provoking arguments put forward within it.

Whiteman displays a dazzling command of his subject. His careful presentation of the source materials, their defects, and the methods he chose to transcend obstacles bespeak a commitment to historical accuracy that is both commendable and impressive.

This book...fills a monumental gap in the art, architectural, and landscape histories of the early modern world, providing a long-overdue interdisciplinary discussion of the Qing emperor whose reign and works overlapped with those of better-studied contemporaries.

Scholars from both fields, as well as other interested readers will find it of value, while the rich illustrations and beautiful design promise a delightful reading experience.

Where Dragon Veins Meet provides an exemplary study of a particular site by connecting methods of art history, humanist geography, landscape and garden studies, and literature... All in all, Whiteman's book maps out new paths to approaching historical landscape, intermedial representations of place, as well as transcultural studies of imperial and pictorial spaces.

Whiteman’s impeccable work goes far beyond simply a comprehensive and thought-provoking study of Kangxi’s Mountain Estate itself. Instead, it reveals not only the global dimension of this ‘frontier landscape’ but a Qing political landsape within an interconnected ‘long’ 18th entury, creating a milestone in writing global art history.

Where Dragon Veins Meet is an important case study in how rigorous scholarship can reshape our understanding of even the most famous sites. Whiteman’s detailed analysis not only uncovers the Kangxi-era landscape at the Mountain Estate, long buried under Qianlong’s contributions, but also demonstrates the essential role Kangxi played in the development of Qing visual and material culture. Handsomely produced in full color, this book will undoubtedly serve as a standard reference for scholars interested in Chinese imperial arts, landscape studies, and early modern history for many years.

Through careful and sophisticated stylistic analysis, Whiteman demonstrates impressively how attention to objects can effectively enhance historical understanding in the absence of written sources. Therefore, Where Dragon Veins Meet is of interest to art historians and historians alike.

Early eighteenth century under the Kangxi Emperor is a curious lacuna in our cognitive mapping of Chinese art. It looked forward to the more familiar story of Qianlong era, though the heir now unfairly eclipses the precedent. It canonized an Orthodox tradition, except how that happened eludes us. It brought landscape and gardens, private and imperial, ideational and topographic paintings together, except the process of that merge needs to be mapped out. Stephen Whiteman has done just that. In doing so, he has filled a tall order.

This close reading of one key site offers an unprecedented level of rich detail, and its thought-provoking analysis is a real advance in understanding the world of Qing imperial power.

One of those rare books that will change scholarship.

The fruit of excellent research that embraces an impressive range of mediums, including garden architecture, painting, printmaking, and poetry.