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approaches this type of art from a historical- were produced as lonely and singular works,
sociological perspective. 15 By integrating directly from the gifted hand of the genius. The
Chinese export painting within the framework relation between ‘aesthetic value’ and ‘individual
of the Chinese visual artistic practice through the genius painting’ was a firm one for a long time,
course of the eighteenth and nineteenth and still is in many people’s mind. Strictly
centuries, Clunas is approaching this speaking, there was no sharp distinction between
phenomenon in a totally new way. As one of the the studio painting practice in China and the
earliest scholars in this field, he refreshingly West. On both sides of the world, in the
argues that the social roles of painters as nineteenth century, big painting studios existed
‘scholar-amateur’ or ‘artisan-professional’ were with famous masters and their student-painters.
26 not as strictly separated as thought for a long Millions of paintings were sent into the world
time. As is generally known, Chinese amateur from these production centres, either from the
painters in Suzhou and environs had been West to the East or from the East to the West.
experimenting with imported techniques of Consequently, today, many of these works are
fixed-point perspective and the rendering of valued as canonical art, emblematic for a period
mass through shading since the seventeenth of time or a specific painting studio.
century. Furthermore, Clunas argues that it is In 1986, Patrick Conner, preeminent
unlikely that the widely available Western connoisseur of Chinese export painting, wrote,
printed and drawn pictures, brought to Canton together with David Sanctuary Howard (1928-
to act as models for the export porcelain 2005) and Rosemary Ransome Wallis, the
industry, returned to the West with the painted catalogue The China Trade 1600-1800 for the
bowls or plates. Rather, they remained in exhibition of the same name, held that year in
Canton to be passed on for inspiration or to the Royal Pavilion in Brighton. 17 In eight
illustrate appropriate Western conventions of chapters, this book gives an overview of the
representation on all sorts of objects destined for many aspects connected to the lucrative trade
export and to suit Western tastes. I agree with between the men of the British East India
Clunas that, as a result of these cultural Company and hong merchants in China. 18 In
interactions and selective integration of painting addition, the reader gets a good picture of the
conventions, Chinese export painters “added variation in the art objects that returned to the
significantly to the possibilities for visual British Isles with this (mainly tea) trade. The
represention in China, particularly in technical exhibition presents, among other things, oil
terms.” 16 In my view, it is high time to integrate paintings with port views and portraits and
the Chinese export painters Lamqua, Tingqua, watercolour albums with paintings depicting the
Sunqua and their so-called ‘artisan-professional’ production of tea and porcelain, Chinese flora
colleagues into the history of ‘Chinese painting’. and fauna, and scenes of Cantonese street trade.
In nineteenth-century China, these painters were Furthermore, this exhibition showed Chinese
generally afforded the status of skilled artisans; porcelain, cabinetry, silk products, silver
but this contrasted with the position held by artworks, fans and Chinese wallpaper. Almost
esteemed Chinese literati (amateur) painters who all the exhibited objects are pictured in the
were praised and glorified. Meanwhile, in the catalogue, accompanied by detailed information.
nineteenth-century West, the Romantic ideology, Subsequent to this book, Conner has continued
with its auratic tradition of locating artistic to publish prolifically, producing many articles
value in the individual artist, was also strongly and catalogues on this subject. In one of his
present in the discourse on ‘true artists’. latest publications, from 2009, The Hongs of
Artworks were only ‘true artworks’ when they Canton: Western Merchants in South China

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15 Clunas 1997, 191-199.
16 Ibid., 199.
17 Patrick Conner was Keeper of Fine Art at the Royal Pavilion, Art Gallery and Museums in Brighton, UK since
1975. In 1986 he became Director of the Martyn Gregory Gallery in London, specialists in historical paintings related
to the East India Company and the China trade. He has published several works on the subject and curated a
number of exhibitions exploring the relationships between eastern and Western cultures and their artistic
exchanges. Furthermore, he is a Fellow of the Royal Asiatic Society and he contributes regularly to specialist
periodicals and lectures widely in China, Europe and the United States.
18 The Cantonese word hong means ‘enterprise’. The same Chinese character is pronounced as haang in
Cantonese to indicate ‘walking’. This character also has two different pronunciations for the same two meanings in
Putonghua. Personal note by Wen Ting-tiang, 28 January 2016.