The Concept Origin And New Style Of Chinese Painting In The Reigns Of Emperors Kangxi,Yongzheng And Qinglong

At the end of Ming Dynasty and the beginning of Qing Dynasty,western cultures flowed into China,and western painting was also brought to China by missionary. Two new schools of painting styles called "The eastward transmission of western scholarship" and "The eastward transmission of western painting" were formed in the reigns of Emperors Kangxi,Yongzheng and Qinglong.The "eastward transmission of western scholarship" was a painting style which was based on western painting and was put into Chinese traditional painting factor. On the one hand it used the Chinese painting tools of writing such as brush,ink,paper, silk,color,added the line,adopted the Chinese painting subject and construct;on the other hand it discarded the shadow and perspective in the western painting in order to make the paintings with traditional esthetic characters of China.The "eastward transmission of western painting" was another new painting style which was mainly built on traditional Chinese painting style and was put into factors of western painting such as light,perspective and colors.It absorbed the realism concept and spatial awareness in the western painting which expressed the compound characters between "the line" and "construct","the flat" and "the volume".This paper tries to explore the origin,formation,and the changing of the two painting styles.In the first place,it seeks for the reasons of the origin and propagation of "eastward transmission of western scholarship" which Lang Shining created in the court,analysing the style characters through the imperial portrait,birds and beasts, flowers and plants,documentary painting.And exploring the Chinese painting's factor in "eastward transmission of western scholarship" which was mainly based on the painting works by Lang Shining and Chinese painters through the cooperation, and which can be traced from the records of Qing Court Archives.It pointed out that the painting works which cooperated fused the eastern painting skills,color concepts, style and mode and the Chinese words form,esthetic appeal,culture traits,especially through the painting skill of shading,perspective,color,the visual experiences of stereoscopic effect,sense of space and reality,the drawing ideas of practical and feasibility into the painting,and compared with far and near method and perspective, mutual promotion of the five elements relations and shading,flower-and-bird painting and scenery sketch,landscape program and scene composition,Chinese and the western drawing material.It also tracked down the evolution process of "eastward transmission of western scholarship" through the representative works by Lang Shining at the several times.In the second place,the western factor in Chinese Paintings could also be found in the paintings of Jiao Bingzhen,whose landscape painting,flower-and-bird paintings and figure paintings were quoted to discuss its' concrete manifestation.It pointed out that Zengjing with Bo Chen school,and Jiao Bingzhe were the practitioners which had all put the western factor such as light and perspective into the Chinese traditional subject painting.The Bo Chen school described figure by weakening the contradistinction of light,using the exquisite practical technique and portraying the literary spirit.But Jiao Bingzhen created the works of "The eastward transmission of western painting" by using the technique of the eastern painting,the technique of the eastern and western paintings was not only combined in the court, but also in the engraving painting and the year painting.The paper has made many tables to analyse and compare the painting technique about concavity-protruding and bright-dark,perspective and San Yuan method.In the last pace,the paper tries to explore the concept origin of the formation of "The eastward transmission of western scholarship" and "The eastward transmission of western painting",which begins with the western concept about China and Chinese painting,and the Chinese concept about west and western painting in Ming and Qing dynasties.Drawing to the conclusion that the western concept about China had been realized that Chinese emphasis on the harmony between nature and peoples' life and the subjective spirit.Chinese painting always integrated the life disciplines in nature and traditional concept about Yin Yang which could be shown by words form,and protruded condition performance about the formalized ideal.So,the western factor in new style of Chinese painting were linked to the traditional painting concept which skipping the perspective and light.Additionally,the Chinese painting brought to west also contained orient decorative style.The emphasis on line was quite different from the emphasis on flat in west.The transition from line to flat in new style of painting was the consequence of combing between the concepts of west and east.On the other hand,the Chinese literati also studied and learnt the western painting technology when exploring the western science and technology and religion culture.Both royal court painters and folk painters absorbed this painting technology, and all that were based on the Chinese comprehension of scientific ideas about about west.However,painters from the stratum of literati were transforming the western painting using three dimensions,and the western factors were not so obvious in their painting.On the contrary,the emperor was more interested in western science and paintings.For instance,Qianlong was the supporter of Lang Shining's new style painting which was the reflection on Qianlong's concepts of painting and aesthetic, and the understanding of light,perspective,and realism about western painting.