Development Of Lithograph Pictorial In Late Qing Dynasty

In the context of the history of Chinese modern art,discussions on the "fusion of Chinese and Western arts" mostly discuss the fusion of Eastern and Western arts based on responses to external world shocks.As an important part of the Western painting system,printmaking is often used in discussions.However,in modern vision,etchings and lithographs have played an important role in the field of image reproduction,and they have been introduced to China at a technical level.In particular,the lithograph technique was widely used in the printing and modern media industry under the introduction of missionaries and businessmen.The "Pictorial Prints" of the late Qing Dynasty,which existed in the form of commercial pictorials,were different from Europe because of their long-term dependence on the commercial environment.Secondly,the early Chinese painters who were engaged in the creation of lithographs were deeply affected by the production process of the traditional engraving industry,making them still unable to get rid of the "artifact" thinking level when facing new lithography techniques such as lithographs.This has something to do with the artist’s education level and taste of art,and it is also difficult to get rid of the public opinion space of the monopoly of art critics at that time.Whatever,the commercial pictorial in the late Qing Dynasty was a form of early Chinese printmaking,and the graphic-based format made pictorials of great research value in the art field.At the same time,the artistic explorations shown by Chinese painters in the creation of lithographs were important artistic experiments that influenced the development of lithographs in the late Qing Dynasty.Therefore,the self-orientation of Chinese painters in the late Qing period,the environment in which lithographs lived in China,and the technical constraints on late Qing pictorial prints all affected the transformation of "pictorial prints" from commercial prints to creative prints.Key factor.This thesis is divided into three main parts.The first part of the thesis attempts to sort out the ways and means of Western lithographs and lithographs entering China since the end of Ming Dynasty,and how Chinese painters understand the impact of this new type of prints.Secondly,the thesis focuses on the work published in the Dianshizhai Pictorial as an example.It analyzes the formation process and content characteristics of Chinese commercial pictorials,as well as understands how Dian Shizhai’s painters used Chinese painting techniques and learning Western painting techniques to present a growing consumer society in Shanghai.Last but not the least,this thesis starts from the cultural monopoly of scholars and doctors in the late Qing Dynasty and the limitations of Chinese painters,analyzes the reasons why Chinese pictorial prints failed to form independent creative artistic lithographs.