The Work And Criticism Of The Traditional Chinese Portrait Painting In The Eighteen Century

Chinese traditional portrait painting during Ming and Qing Dynasty was extraordinarily well-developed among the background of decadence figure-and-genre painting.Comparing with the research which was focusing on the appearance and achievement made by Zeng Jing "Bochen school" during 17th century,which is between the end of Ming Dynasty and beginning of Qing Dynasty,Chinese portrait painting in 18 Century had shown its great diversity and activity.The Chinses portrait painting in this time had multivariant style on development which is closely related with stratum portraitists served.In eighteen century,the western missionary painters serviced for internal emperor.According to the emperor's favour,the Chinese and western painters did their best for works so that the royal portrait paintings had the special style blending the Chinses-style and western-style paintings in eighteen century.The portrait painting style in official scholars was still leaded by "Bochen school" in eighteen century.The advanced professional portraitures have good relationship with scholars at that time and serviced for them as well.They are in according with scholar's aesthetics in portrait painting creation,so result in the integral style of these kinds of works.The paintings of portrait painters who work for common peoples have become commercial gradually because of the increasing demand.Although there are some good works,most of the more make for works model copy rather than works creation.Chinese traditional portrait painting with a long history has lots of works that have been kept until today but data records was few and briefly.The portrait painting has more technique on it and the traditional portraitists' technique experience was treated as secrets valuable books which just taught to own families or prentices.In the Qing dynasty,appeared good conditions and circumstance for portrait painting,the books about traditional portraitures were produced at the same time in eighteen century of China.They are Jiang Ji《Chuan Shen Mi Yao》,DingGao《Chuan Zhen Xin Ling》and ShenZongJian 《JieZhouXueHueBian》.All in all,Chinese traditional portrait painting in eighteen century is full of vitality under various reasons influenced.This dissertation starts from individual characteristic of Chinese traditional portrait painting of royal empire,official scholar and common people in 18 Century,through works of portraitists and theory of portraiture writings, analyzing deeply among images and writings,images and images,writings and writings.The writings of portraiture are not only the traditional theory summary on portrait painting history,but also describing the portrait painting status at that time.The painting is not only art but also method of observation and way of thinking. Chinese traditional portrait painting has their own system which including a complete theories about understanding world,idea for life and technical expression etc.The writings of portraiture are a way which leads people from vision to ideological interpretation for traditional painting research.Reviewing the cognize mode to Chinese traditional portrait painting,entering the traditional painters' mind and looking into what they think by what they said,to research Chinese traditional portrait painting special taste and value from an ignored point of view.