The Manchus could not permit this, as such a realm would have threatened the flank of their homeland, Manchuria, and would have attracted those Manchus who objected to sinification. Between 1690 and 1696 there were battles, in which the emperor actually took part in person. Galdan was defeated. In 1715, however, there were new disturbances, this time in western Mongolia. Tsewang Rabdan, whom the Chinese had made khan of the Ölöt, rose against the Chinese. The wars that followed, extending far into Turkestan and also involving its Turkish population together with the Dzungars, ended with the Chinese conquest of the whole of Mongolia and of parts of eastern Turkestan. As Tsewang Rabdan had tried to extend his power as far as Tibet, a campaign was undertaken also into Tibet, Lhasa was occupied, a new Dalai Lama was installed there as supreme ruler, and Tibet was made into a protectorate. Since then Tibet has remained to this day under some form of Chinese colonial rule.
This penetration of the Chinese into Turkestan took place just at the time when the Russians were enormously expanding their empire in Asia, and this formed the third problem for the Manchus. In 1650 the Russians had established a fort by the river Amur. The Manchus regarded the Amur (which they called the "River of the Black Dragon") as part of their own territory, and in 1685 they destroyed the Russian settlement. After this there were negotiations, which culminated in 1689 in the Treaty of Nerchinsk. This treaty was the first concluded by the Chinese state with a European power. Jesuit missionaries played a part in the negotiations as interpreters. Owing to the difficulties of translation the text of the treaty, in Chinese, Russian, and Manchurian, contained some obscurities, particularly in regard to the frontier line. Accordingly, in 1727 the Russians asked for a revision of the old treaty. The Chinese emperor, whose rule name was Yung-cheng, arranged for the negotiations to be carried on at the frontier, in the town of Kyakhta, in Mongolia, where after long discussions a new treaty was concluded. Under this treaty the Russians received permission to set up a legation and a commercial agency in Peking, and also to maintain a church. This was the beginning of the foreign Capitulations. From the Chinese point of view there was nothing special in a facility of this sort. For some fifteen centuries all the "barbarians" who had to bring tribute had been given houses in the capital, where their envoys could wait until the emperor would receive them—usually on New Year's Day. The custom had sprung up at the reception of the Huns. Moreover, permission had always been given for envoys to be accompanied by a few merchants, who during the envoy's stay did a certain amount of business. Furthermore the time had been when the Uighurs were permitted to set up a temple of their own. At the time of the permission given to the Russians to set up a "legation", a similar office was set up (in 1729) for "Uighur" peoples (meaning Mohammedans), again under the control of an office, called the Office for Regulation of Barbarians. The Mohammedan office was placed under two Mohammedan leaders who lived in Peking. The Europeans, however, had quite different ideas about a "legation", and about the significance of permission to trade. They regarded this as the opening of diplomatic relations between states on terms of equality, and the carrying on of trade as a special privilege, a sort of Capitulation. This reciprocal misunderstanding produced in the nineteenth century a number of serious political conflicts. The Europeans charged the Chinese with breach of treaties, failure to meet their obligations, and other such things, while the Chinese considered that they had acted with perfect correctness.
4 Culture
In this K'ang-hsi period culture began to flourish again. The emperor had attracted the gentry, and so the intelligentsia, to his court because his uneducated Manchus could not alone have administered the enormous empire; and he showed great interest in Chinese culture, himself delved deeply into it, and had many works compiled, especially works of an encyclopaedic character. The encyclopaedias enabled information to be rapidly gained on all sorts of subjects, and thus were just what an interested ruler needed, especially when, as a foreigner, he was not in a position to gain really thorough instruction in things Chinese. The Chinese encyclopaedias of the seventeenth and especially of the eighteenth century were thus the outcome of the initiative of the Manchurian emperor, and were compiled for his information; they were not due, like the French encyclopaedias of the eighteenth century, to a movement for the spread of knowledge among the people. For this latter purpose the gigantic encyclopaedias of the Manchus, each of which fills several bookcases, were much too expensive and were printed in much too limited editions. The compilations began with the great geographical encyclopaedia of Ku Yen-wu (1613-1682), and attained their climax in the gigantic eighteenth-century encyclopaedia T'u-shu chi-ch'eng, scientifically impeccable in the accuracy of its references to sources. Here were already the beginnings of the "Archaeological School", built up in the course of the eighteenth century. This school was usually called "Han school" because the adherents went back to the commentaries of the classical texts written in Han time and discarded the orthodox explanations of Chu Hsi's school of Sung time. Later, its most prominent leader was Tai Chen (1723-1777). Tai was greatly interested in technology and science; he can be regarded as the first philosopher who exhibited an empirical, scientific way of thinking. Late nineteenth and early twentieth century Chinese scholarship is greatly obliged to him.
The most famous literary works of the Manchu epoch belong once more to the field which Chinese do not regard as that of true literature—the novel, the short story, and the drama. Poetry did exist, but it kept to the old paths and had few fresh ideas. All the various forms of the Sung period were made use of. The essayists, too, offered nothing new, though their number was legion. One of the best known is Yüan Mei (1716-1797), who was also the author of the collection of short stories Tse-pu-yü ("The Master did not tell"), which is regarded very highly by the Chinese. The volume of short stories entitled Liao-chai chich-i, by P'u Sung-lin (1640-1715?), is world-famous and has been translated into every civilized language. Both collections are distinguished by their simple but elegant style. The short story was popular among the greater gentry; it abandoned the popular style it had in the Ming epoch, and adopted the polished language of scholars.
The Manchu epoch has left to us what is by general consent the finest novel in Chinese literature, Hung-lou-meng ("The Dream of the Red Chamber"), by Ts'ao Hsüeh-ch'in, who died in 1763. It describes the downfall of a rich and powerful family from the highest rank of the gentry, and the decadent son's love of a young and emotional lady of the highest circles. The story is clothed in a mystical garb that does something to soften its tragic ending. The interesting novel Ju-lin wai-shih ("Private Reports from the Life of Scholars"), by Wu Ching-tz[)u] (1701-1754), is a mordant criticism of Confucianism with its rigid formalism, of the social system, and of the examination system. Social criticism is the theme of many novels. The most modern in spirit of the works of this period is perhaps the treatment of feminism in the novel Ching-hua-yüan, by Li Yu-chên (d. 1830), which demanded equal rights for men and women.
The drama developed quickly in the Manchu epoch, particularly in quantity, especially since the emperors greatly appreciated the theatre. A catalogue of plays compiled in 1781 contains 1,013 titles! Some of these dramas were of unprecedented length. One of them was played in 26 parts containing 240 acts; a performance took two years to complete! Probably the finest dramas of the Manchu epoch are those of Li Yü (born 1611), who also became the first of the Chinese dramatic critics. What he had to say about the art of the theatre, and about aesthetics in general, is still worth reading.
About the middle of the nineteenth century the influence of Europe became more and more marked. Translation began with Yen Fu (1853-1921), who translated the first philosophical and scientific books and books on social questions and made his compatriots acquainted with Western thought. At the same time Lin Shu (1852-1924) translated the first Western short stories and novels. With these two began the new style, which was soon elaborated by Liang Ch'i-ch'ao, a collaborator of Sun Yat-sen's, and by others, and which ultimately produced the "literary revolution" of 1917. Translation has continued to this day; almost every book of outstanding importance in world literature is translated within a few months of its appearance, and on the average these translations are of a fairly high level.
Particularly fine work was produced in the field of porcelain in the Manchu epoch. In 1680 the famous kilns in the province of Kiangsi were reopened, and porcelain that is among the most artistically perfect in the world was fired in them. Among the new colours were especially green shades (one group is known as famille verte) and also black and yellow compositions. Monochrome porcelain also developed further, including very fine dark blue, brilliant red (called "ox-blood"), and white. In the eighteenth century, however, there began an unmistakable decline, which has continued to this day, although there are still a few craftsmen and a few kilns that produce outstanding work (usually attempts to imitate old models), often in small factories.
In painting, European influence soon shows itself. The best-known example of this is Lang Shih-ning, an Italian missionary whose original name was Giuseppe Castiglione (1688-1766); he began to work in China in 1715. He learned the Chinese method of painting, but introduced a number of technical tricks of European painters, which were adopted in general practice in China, especially by the official court painters: the painting of the scholars who lived in seclusion remained uninfluenced. Dutch flower-painting also had some influence in China as early as the eighteenth century.