Where Dragon Veins Meet

"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."—Journal of Chinese Studies

"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."—Journal of the Society of Architectural Historians

"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."—East Asian Science Technology and Medicine

"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."—Art Bulletin

"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."—Architectural Histories

"One of those rare books that will change scholarship."—James Beattie, founding editor, International Review of Environmental History

"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."—Craig Clunas, Trinity College, University of Oxford

"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."—Eugene Wang, Abby Aldrich Rockefeller Professor of Asian Art, Harvard University