A Study Of The Early Dissemination Of Western Painting In Xinjiang Area From 1851 To 1949

Located in the Northwest border of China,Xinjiang is the only place where the silk road on land meets the Eurasian continent,and where Chinese and Western civilizations converge.At present,in all kinds of publications about the art history of China and the art history of Xinjiang from the emergence of the term "Xinjiang" to the establishment of the People's Republic of China,the topic of Western painting of Xinjiang are mostly concerned with the development of Western painting of Xinjiang during and after the 1930 s and 1940 s.There has not been an overall systematic analysis on the Early Dissemination of Western painting of Xinjiang.Therefore,it is necessary to supplement the study of this period,and to enrich the documentation of the development of Western painting in Xinjiang from its beginning stage to its blooming stage.This paper aims to analyze such documentation through the lens of historical study of the development and the spread of Western painting in China.By researching a large quantity of literature and interviewing relevant people,this paper adopts the methods of comparing and collating existing materials to analyze the Early Dissemination of Western painting of Xinjiang.It explores five aspects of the Early Dissemination of Western painting of Xinjiang: this first aspect involves Christian missionaries of different denominations carried out missionary activities successively in Southern and Northern Xinjiang,bringing Western religious paintings;the second involves the foreign explorers bringing the life drawing technique and creative composition of Western painting to Xinjiang during the period of the upsurge of expeditions of Central Asia in the second half of the 19 th century;the third involves the emergence of a large number of new schools in Xinjiang with a wide range of new education reform including Western Art Education;in addition,the long-term trade and immigration activities between China and Russia and China and the Soviet Union have brought Western painting related objects and personnel;the last aspect involves the Western painting professionals from mainland China and their influence.Although the scope of activities in the initial stage of Western painting in Xinjiang was small and its influence on the overall development of Chinese Western painting was relatively minimal,the following objectives facts happened before mainland artists of Western painting came to Xinjiang: the emergence of Western painting in Xinjiang during the late Qing dynasty and the early period of the Republic of China;Western painting and composition in Xinjiang by foreign visitors;the emergence of new art education influenced by Western art curriculum in Xinjiang;the trade and immigration between China,Russia and the Soviet union brought Western paintings and other related-objects.Thereafter,a number of mainland artists of Western painting came to Xinjiang and vigorously promoted the development of Western painting in Xinjiang.These events together constitute the Early Dissemination of Western painting in Xinjiang from its beginning stage.The Early Dissemination of the Western painting of Xinjiang is a phenomenon caused by the changes in the political and economic pattern of Eurasia in the 19 th and 20 th centuries.It is the starting point of the development of Western painting in Xinjiang,which paved the foundation of public aesthetic appreciation for the Western painting of Xinjiang after the establishment of the People's Republic of China and benefited the following work of systematically promoting art in Xinjiang.In addition,the origination of Western Painting in Xinjiang experienced the Eastward spread of Western Painting through land-route transmission besides sea-route transmission.Thus,this paper aims to incorporate the Eastward spread of Western Painting in China via locations such as Xinjiang and Heilongjiang into the overall study of the Eastward spread of Western Painting in China,so as to improve the study on the land route transmission of the Eastward spread of Western Painting.