Page 55 - A Re-examination of Late Qing Dynasty Porcelain, 1850-1920 THESIS

community for the entirety of the Qing dynasty. Three distinct groups emerged in

painting during the Qing: the Individualists, the Orthodox School, and the commercial

34
and court artists. The Individualists maintained loyalty to the fallen Ming dynasty.
Their paintings often focused on self-expression, typically exemplifying sadness at the

recent Manchu conquest. The Orthodox School primarily worked to replicate former

th
masters of the 17 century. Works created by this school often looked toward older

models and then subtly included stylistic innovations of the current era. The final group

of commercial artists was comprised of masters of painting who worked exclusively on

commission. They often produced artwork for the imperial court. While these three

th
groups are clearly separated in the early Qing, by the late 19 century the styles

associated with each group had slowly dispersed. Art produced in this time begins to

gain the influence of multiple styles and pushes the established boundaries.

Another major force behind the evolution of painting during the Qing dynasty was

influence from Europe. Jesuits gained favor at the imperial court, inspiring the painting

styles that would be developed during this era. For example, portraiture gained

popularity in China during the reign of Qianlong. The Italian Jesuit Giuseppe Castiglione

(Lang Shining 郎世寧; 1688–1766) filled the Qing court with new Western painting

styles and techniques especially during the reign of Qianlong. Castiglione’s The

Qianlong Emperor in Ceremonial Armor on Horseback dates to the 1700s and

exemplifies the cross-cultural exchange that was occurring in the field of painting (Figure

2). The portrait, completed with traditional ink and color on silk, depicts the emperor in
35

34 Claudia Brown, Great Qing: Painting in China, 1644-1911 (Seattle, Washington: University of
Washington Press, 2014).
35 Nancy Berliner, Mark C. Elliot, and Liu Chang, The Emperor’s Private Paradise: Treasures
from the Forbidden City (Salem, Massachusetts: Peabody Essex Museum, 2010), 39.
16