Little artwork from the Dzungars themselves exists following the destruction of their empire and people at the hands of Qing and the Qianlong Emperor. However Qianlong did commission several artworks of Dzungar defectors, prisoners, and battles that the Qing fought during the subjugation of the Dzungars. Many of these artworks were created by Giuseppe Castiglione, a Milanese Jesuit who came to be one of Qianlong’s primary painters; and Jean Denis Attiret, another French Jesuit who depicted many battles between the Qing and Dzungars, both of whom combined Eastern and Western methods for the creation of their artworks. Thanks to the Jesuit’s focus on realism, we are we able to get a somewhat good view of what the Dzungars would have looked like during this era.
Giuseppe Castiglione’s masterpiece: ”One Hundred Steeds”
The Qianlong Emperor in Ceremonial Armor on Horseback, by Giuseppe Castiglione.
No portraits of the earlier Dzungar Khong Taiji’s exist; instead the earliest artwork related to them are two steeds gifted to the Qianlong emperor. The first was a white steed by the name of Ruyi Cong, given to him by Galdan-Tseren at the culmination of the peace agreement between the Dzungars and Qing, creating stronger trade and political ties between the two empires. The second was a red steed by the name of Dayuanliu gifted to Qianlong by Galdan-Tseren’s young son: Tsewang Dorji Namjal, following his request for permission to bury his father’s ashes in Tibet. Neither of the horses’ names are Mongolian and are unlikely to have had names before Qianlong gave them ones.
Dawaqi, the last official Dzungar ruler was depicted in life by French Jesuit Jean Denis Attiret. Giuseppe Castiglione created multiple portraits of Amursana during his stay in Chengde, before the capture of Dawaqi, making him the only other leader of the Dzungars to have had a portrait. However these portraits were destroyed by fire following Amursana’s revolt in 1755. Making them and Amursana’s true appearance forever lost.
Dzungar defectors Salar (left) and Ayusi (right). Salar had been a hostage to the Qing from a young age, and had later become part of Qing military. Ayuxi meanwhile had been in charge of the Choros’ herds, but had escaped punishment by defecting to China. Salar recommended Ayusi to become part of the imperial guard for his martial prowess to the Qianlong Emperor, which he was granted. Both would contribute to the overthrow of Dawaqi and the brutal suppression of Amursana’s revolt.
Ayusi would become a favorite of the Qianlong Emperor, especially following his feats at Gadan-Ola. Multiple artworks were commissioned of Ayusi, depicting him wearing a combination of Qing and Dzungar equipment. After Amursana’s revolt, Ayusi was promised leadership over his troops by the Qianlong Emperor, and personally wrote a poem about him in his honor.
Victory Banquet Given by the Emperor for Distinguished Officers and Soldiers, 1754. Dzungars and/or Uighurs featured to the bottom right. Many Dzungars defected to the Qing in the late 1740s and early 50s, including Amursana.
Storming the Camp at Gadan-Ola, 1755. Ayusi sneaks up on the Dzungar forces but Dawaqi escapes.
Receiving the surrender of the Ili, 1755. Dawaqi is captured.
Battle of Oroi-Jalatu, 1756. Zhao Hui attacks a Dzungar camp following Amursana’s rebellion, the genocide begins. – Giuseppe Castiglione.
Battle of Khurungui, 1758. General Zhao Hui ambushes and defeats the Dzungarian forces of Amursana.
Victory of Khorgos, 1758 – Jean-Denis Attiret.
Battle of Tonguzluq, 1758. General Zhao Hui tries to take Yarkant but is defeated.
Battle of Arcul, 1759 – Jean-Denis Attiret.
Battle of Qos-Qulaq, 1759. Ming Rui defeats the Khoja army.
Siege of Khara-Usu, Black River, 1759. Zhao Hui after becoming trapped storms the Uighur lines after learning about the arrival of reinforcements coming to the black river.
Uyghur Warrior of the Dzungars shot dead by the Qing
Ten Thousand Nations Coming to Pay Tribute, 1750s. It depicts all different kinds of people inhabiting the lands surrounding China, including the people of what would become Xinjiang. In this section are Dzungars with a banner depicting the characters 伊犁 for Ili instead of Dzungaria. Also depicted are Kazakhs (哈薩克), and Uighurs from Uqturpan (烏什), Yarkent (葉爾奇木), Kashgar (喀什喀爾), Aksu (阿克蘇), Kucha (庫車), Khotan (和闐) and Karasahr (哈爾沙爾).