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ANTIQUE STILL LIFE PHENOMENON IN CHINESE ART (1644-1911)
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ANTIQUE STILL LIFE PHENOMENON IN CHINESE ART (1644-1911)
Annotation
PII
S086919080000616-4-1
Publication type
Article
Status
Published
Authors
Marina Neglinskaya 
Edition
Issue 6
Pages
76-83
Abstract
Still life appeared in China during its heyday in European art. This is understandable: during the reign of the Manchu Qing Dynasty (1644-1911) increased cultural exchanges with Europe due to the formation of the Sino-European market and the work in China of European missionaries (Jesuits). Some innovations (technologies etching, painting enamels, oil painting; costume portrait and still life) were adapted with their participation in the Beijing art workshops. At the initiative of the second Manchu Emperor Kanghsi (16621722) still life was introduced in the painting of Chinese porcelain under the guise of images of “antiques” and “attributes of arts”. Both the plots were used in court painting during the Yongzheng (1723-1735); in the time of the Qianlong (1736-1795) and Guangxu (1875-1908) they are widely used in various types of Chinese arts and crafts. This borrowing from European art was fundamentally important for maintaining the authority of the Manchu dynasty, but Western innovations are deliberately dress in the traditional “clothing of Chinese antiquity”. The topics of still life in China can be also interpreted in the context of Western Themes “vanities/Vanitas”.
Keywords
Qing art, antique still life "bai gu," shinoisri, treasures of Chinese intellectual Wenzhen, vanitas/vanity
Date of publication
01.11.2015
Number of purchasers
1
Views
875
Readers community rating
0.0 (0 votes)
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