Study On The Carrier,Use Situation And Related Issues Of Chinese Portraiture From The 17th To The 18th Centuries

The word "portraiture" is the name of the western-based,but it have a specific title in Chinese traditional paintings.Such as sacred image,portray a person,expressive looks,face,half-length portrait,figure image of Buddha,and civilian portrait.Under the context of Chinese history,from internal factors perspective,the traditional portraiture divide into two kinds :situation portrait and portrait of without situation.Traditional Chinese portraiture painting also includes the factors,such as the patron,the medium of the supporting picture,the environment of display or preservation,and the viewer.The internal and external factors combine to form a complete portrait painting.From the perspective of external factors,the carrier of traditional Chinese portraiture refers to the material form and medium carrying the figure portrait.It was framed into a complete portraiture,including the long rolls,vertical-hanging paintings and albums made of paper and silk,as well as the screens,Tieluo painting,stone carvings and woodblock illustrations,as well as foreign oil paintings.Use situation refer to a state of being,forming at a specific time and place after painting.That is,portraiture exists in different architectural space,the etiquette place or social environment in the specific social activity space.The 17 th and 18 th century that late Ming dynasty to the Qing dynasty Qianlong period.Under the background of obvious differentiation of local social class,increasing demand for portraiture and introduction of western painting method,the specific use of portraiture by people of different social classes influences the whole painting process of painters.First.Taking the development and evolution of early portraiture as an example,this paper analyzes how portraiture from Pre-Qin to Ming and Qing dynasties gradually changed from a single carrier to a diversified carrier,from a single ritual function to a variety of functions close to daily life,Such as practicality,decorative.In this historical evolution,the different functions of portraiture have been paid more and more attention.During the Ming and Qingdynasties,the carrier of portrait painting and the use of the situation appeared obvious class characteristics.Then,on the basis of clarifying the carrier and use situation of early portrait painting,and paying attention to the different functions of portrait painting,this paper discusses the carrier and subject matter are influenced by the situation of portrait painting,which lie in different social and cultural space-time,such as royal court,literati,urban folk,religion.For example,in the imperial court,portrait of the emperor’s entertainment has a variety of carrier forms,including the large screen and Tieluo form;the portraits of literati are mostly in the form of albums and long handscroll,which Literati portraits express interest of scholars by means of many scenes.Folk portrait is mainly composed of ancestor portrait of vertical-hanging,which both the ancestor portrait and the secular scene portrait are influenced by portrait of the court and the literati.During this period,the author says that people are more likely to "use" portraits,"use" portraits in "self-construction" and projected portraits in paintings,and more likely to use portraits as "objects" to play different social functions in different social scenes,rather than as works of art for "audiences" to appreciate or exhibit today.The further problem of this paper is the relationship between the carrier,the situation and the painting method of portraiture.The author chooses the portraits of the court,literati and the folk under the specific scenes for comparison,as well as between the portrait painting Fenben and the original,and analyzes the differences of their painting methods with the carrier form as the main line.In the painting,the painter tried his best to meet the needs of the patron(or like the Lord)of the portrait.The author believes that the use situation of portrait painting and the intention of the sponsor at that time greatly influenced the painter’s "painting".The "painting" process of portrait painting was more about the "making" process,and the imitation and reference of the painting Fenben also constituted a "using" situation in the "making" process.At last.From the perspective of "use" of the audience,namely the sponsor,this paper analyzes the aspects such as the face orientation of the host,the eye contact of the host,the posture of the figure and the contrast of the background.There are a variety of mutual echo relationships in the portrait,all of which consider the existence of the viewer,in an effort to enhance the "authenticity" of the portrait and further provide a more realistic viewing scene for the viewer.For example,in terms of the ways to attract the viewers,the first one is that themaster actively interacts with the viewers outside the painting;the second one is that the master denies the viewers and avoids the viewers to form a self-sufficient scene in the painting,which,on the contrary,more attracts the viewers to stop before the painting.In a word,this paper mainly starts from the perspective of external factor carrier and usage situation of portrait painting,and tries to restore the original creation environment and explore the creation motivation of portrait painting at that time on the basis of historical facts,theories and representative works of ancient documents.Portraiture is not only the image in the picture,but also a real material carrier behind it,as well as various specific scenes such as the placement,preservation and use of the painter after painting.The conclusion of this paper is that before the establishment of the concept of "fine arts" and the museum system in modern times,there were more portraits in the 17 th and 18 th centuries.More importantly,portraits were more used as "objects" than works of art to be appreciated and exhibited;second,the whole painting process was dominated by the needs of patrons(or employers)rather than portrait painters;third,the painting process was precisely the process of "making" rather than pure creation.The prosperity of two-century portrait painting is attributed to the spontaneous demand of portrait painting in the tradition,the influence of western missionary painters and western painting methods,as well as the painter’s efforts to present the audience.At present,the theoretical research on the handed down painting works,its original appearance and first use function are covered by historical changes.We need to go back to the historical origin of the work creation,in order to completely restore the true face of the painting works,so as to sort out the painting history closer to the historical truth and objective facts.