A Study Of Qing Dynasty Palace Opera Paintings In The Iconographic Perspective

The Qing dynasty was the peak of the development of traditional Chinese opera,and Qing court opera paintings were produced along with the flourishing of opera art,and the Qing court painters framed wonderful theatrical scenes with brushwork paintings.As a plaything of the emperor,Qing court paintings were mainly for the entertainment of the royal family,but they contained rich cultural information on social customs,ethics,and aesthetic interests,and were both appreciative and research-oriented art carriers.As a "photo collection" of Chinese opera characters and performance scenes,Qing Palace opera paintings are important historical materials for understanding the theatrical stage performances of the Qing Dynasty,and their in-depth study is not only of great significance for exploring traditional social life,stage art and performance repertoire research,but also an important fulcrum for understanding traditional Chinese art and art,and is an important tool for carrying forward the spirit of Chinese culture and establishing cultural confidence in the new era.It is also an important fulcrum for understanding traditional Chinese art,and an important part of the proposition to promote the spirit of Chinese culture and establish cultural confidence in the new era.Qing court opera paintings have received much attention from the academic community as important opera documents.This study intends to use the basic research method of pictorial studies,together with the methods of dramatology and sociology,to try to conduct an in-depth study of Qing dynasty opera paintings.Firstly,the three categories of Qing Palace opera paintings,namely busts,full-length portraits and opera paintings,are analyzed in depth on the basis of pictorial research to explore the possibility and necessity of Qing Palace opera paintings as pictorial research.Then,starting from the internal space of the image,we examine and analyze the color,pattern and layout of Qing dynasty opera paintings at the micro level from the surface to the inside,which shows that the combination of shape and color and the layout of the picture in Qing dynasty opera paintings are the inheritance and innovation of the traditional color,philosophy and aesthetics.Secondly,starting from the special images of women and infants in the Qing dynasty opera paintings,we explore them in the context of opera literature and sociology.As a derivative of the performance on the stage,the Qing court paintings reflect the rituals of the inner court and are also a carrier of the implication and promotion of traditional Chinese culture,whose communication energy far exceeds the text itself.In addition,this paper also compares the relationship between Qing Palace opera paintings,Qing Dynasty court paintings and folk opera paintings,which are inseparable components of traditional Chinese culture,independent and inseparable in terms of aesthetic interest,existing in both dynamic and static ways.As a precious historical record,the Qing opera paintings form a link between opera art and painting art,and thus their role in shaping and guiding the values of the people can be clearly seen,reflecting the aesthetic concepts and cultural psychology of different eras.Finally,we analyze and comment on the survival of Qing dynasty opera paintings overseas and the development of derivatives.As a representative symbol of Chinese opera,Qing court opera manifests its dual spiritual and economic value as a unique artwork in the new era of cultural integration and exchange prevailing.