The Period Of The Qing Dynasty, Shanghai School Of Painting

1309 WordsOct 3, 20176 Pages
At the end of the Qing dynasty and the beginning of the Ming dynasty, Shanghai and Guangzhou started to open the port business and attracted a great variety of painters there. They first accepted the foreign culture and thought, and made the contribution to the innovation of the traditional Chinese painting. Those artworks reflected the atmosphere of life at that time and had the integration of western art techniques. All of these led to the formation of Shanghai School and Lingnan School of Painting. As for the Shanghai School of Painting, the painters at that time were deeply aware that the traditional art of Chinese calligraphy and paintings needed to bring in bold innovation in the new social environment to explore new development.…show more content…
His style of painting or even the subject matter varied a lot. The self-portrait [see fig. 1.2] one shows the naturalistic rendering of the face and the half-bared body with the western techniques chiaroscuro of the use of light and shade. However, the way he painted the garment was totally different with dramatic dynamic and exaggerate black outlines, which could refer to Chen Hongshou’s style. It was obvious that the painting had the combination of western and traditional Chinese painting techniques. Nevertheless, in another painting, which, the landscape painting called The Ten Myriads shows that he was influenced by the Japanese manners of screen painting, and function of the work started to change into the decorative one. Moreover, Ren Yi was a painter that famous for his portrait drawing. He was interested in painting the portrait of his friends. He continued to use exaggerate manner in Ren Xiong’s work to depict the drapery, but in a more naturalistic way with light and shadow and has the pine tree to set as the background, which has the symbolization of longevity. Later, he started to incorporate the western style of watercolor via traditional color and ink in his own work and started to abandon the outline and use the boneless washes manner to bring his works to another style and stage. 1.3 Xugu (1823-1896), Album of Various Subjects, leaf 1, 1895, Qing Dynasty, album of ten

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