History of Modern Chinese Painting (The Late Qing Period)

Author: Li Zhujin, Wan Chunli
Publisher:
Publish Date: 2003-08-01
Features: In the study of Chinese painting history, the late Qing period has long been neglected. There are many reasons for this. , the division of the late Qing period has never been definitively established. It could either start after the reign of Emperor Qianlong, i.e., from 1796, including the reigns of Jiaqing, Daoguang, Xianfeng, Tongzhi, Guangxu, and Xuantong, until 1911 when the Republic of China was established; or it could start after the Opium War in 1840, when China was continuously invaded by Western countries and Japan, until the establishment of the Republic of China. Second, the late Qing period is not only considered a time of decline for the Qing Dynasty itself but also a disgraceful and dishonorable phase in Chinese history. Third, during the late Qing period, China began to face a comprehensive impact from Western culture, with its indigenous culture and value systems facing unprecedented threats. Fourth, influenced by Western and former Soviet historical perspectives and methodologies, late Qing painting has long been viewed as "a manifestation of historical decline." As a result, this period has rarely been the subject of specialized research. Although late Qing painting has only recently gained attention, it is relatively close to the present, leaving a vast number of surviving artworks, as well as extensive records of painters and other related activities. These have long been systematically collected and organized, yet they were often overlooked by museums and collectors. However, in recent years, especially on the mainland of China, many such works have been incorporated into museum collections, and information about painters and related materials has been published. In Taiwan, Hong Kong, and overseas, they have also attracted the attention of collectors and museums. Therefore, late Qing painting will gradually receive more emphasis in the study of Chinese art history. It is hoped that this book can serve as a bridge to promote the development of this field. This book collects and organizes Chinese paintings from the late Qing period, primarily using the works themselves as the basis, with regional classification as the first criterion. Important cities include Beijing, Shanghai, Guangdong, Fujian, and Taiwan.