Nicolas Standaert – författare

Confession in early modern Europe has been the subject of several studies. But what happened to the confessional practice when it moved to other cultures? This is the major research question of the present book as applied to late Ming and early Qing China. The origin of this research can be traced back to the Handbook of Christianity in China: Volume One (635-1800) (Leiden 2000) compiled by researchers of the K.U. Leuven, in collaboration with an international team of circa twenty scholars. As a reference work, the Handbook comprehensively presents many different aspects of Christianity in China, including sciences, arts and crafts. But there was one major absentee: ritual, which is often considered essential for understanding China. A first step in filling this gap was the organisation of an international workshop on "Chinese and Christian Rituality in Late Imperial China" (Leuven, June 2004). The present volume includes the revised contributions by Eugenio Menegon and Erik Zürcher and a reworked version of an article by Liam Brockey as well as the edition of the primary source he used for his article, a confessional manual composed by Jose Monteiro S.J. (1646-1720). These articles portray from different angles one of the sacramental rituals, viz. that of confession.

A renewed attention to visual culture is one of the recent developments in the study of cultural contacts between China and Europe in the seventeenth and eighteenth centuries. The subject of this book is the illustrated Life of Christ presented to the Chinese emperor in 1640 by the Jesuit missionary Johann Adam Schall von Bell S.J. (1592-1666). The origin of the work is a small parchment booklet with coloured miniature paintings based on a wide variety of prints by well-known European engravers (e.g., H. Goltzius, J. Stradanus). It was compiled in Munich in 1617 and a Chinese version with the title Jincheng shuxiang was published in Beijing more than twenty years later in a nicely illustrated edition. An Illustrated Life of Christ is a fascinating analysis of one of the earliest artistic encounters between Europe and China...Standaert has, once again, demonstrated his scholarly foresight, workmanship and authority. John T.P. Lai in Journal of the History of Christianity in Modern China

This book is composed of two parts. Part I traces the complex history of production of Jincheng shuxiang, from its European origin to its Chinese reception. It also analyses the illustrations and the text. Part II contains the reproduction of the Chinese text and 48 illustrations, the reproduction of the identified original European prints and a translation of the Chinese text. It is hoped that the wider diffusion of this rare primary source, which is now reprinted for the first time since the seventeenth century, will further stimulate the study of visual culture in Sino-Western relations. The book will be of interest to a broad range of scholars, from art historians of China and Europe to scholars interested in print history, and theologians.

A renewed attention to visual culture is one of the recent developments in the study of cultural contacts between China and Europe in the seventeenth and eighteenth centuries. The subject of this book is the illustrated Life of Christ presented to the Chinese emperor in 1640 by the Jesuit missionary Johann Adam Schall von Bell S.J. (1592-1666). The origin of the work is a small parchment booklet with coloured miniature paintings based on a wide variety of prints by well-known European engravers (e.g., H. Goltzius, J. Stradanus). It was compiled in Munich in 1617 and a Chinese version with the title Jincheng shuxiang was published in Beijing more than twenty years later in a nicely illustrated edition. An Illustrated Life of Christ is a fascinating analysis of one of the earliest artistic encounters between Europe and China...Standaert has, once again, demonstrated his scholarly foresight, workmanship and authority. John T.P. Lai in Journal of the History of Christianity in Modern China

This book is composed of two parts. Part I traces the complex history of production of Jincheng shuxiang, from its European origin to its Chinese reception. It also analyses the illustrations and the text. Part II contains the reproduction of the Chinese text and 48 illustrations, the reproduction of the identified original European prints and a translation of the Chinese text. It is hoped that the wider diffusion of this rare primary source, which is now reprinted for the first time since the seventeenth century, will further stimulate the study of visual culture in Sino-Western relations. The book will be of interest to a broad range of scholars, from art historians of China and Europe to scholars interested in print history, and theologians.