Chinese and Western Co-Brushing Paintings in Grand Qing Dynasty Palace

• Main Authors: Liang, Hui-Mei, 梁慧美
• Other Authors: Liu, Hsiao-Ling
• Format: Others
• Language: zh-TW
• Published: 2013
• Online Access: http://ndltd.ncl.edu.tw/handle/33074299144653755589

碩士 === 中國文化大學 === 美術學系 === 101 === The court paintings in grand Qing Dynasty had a new painting style unlike former dynasty, such as scenic illusion paintings, perspective paintings, oil paintings, water painting, and etchings after western missionaries into the palace and became the court painters. Among the painting techniques, the court paintings integrate the chiaroscuro and focus stenography commonly used in western painting techniques. As for the printmaking performance, it applies the features of the western copperplate print, producing a number of important documentary paintings. We can find from the paintings appeared in many co-brushing painting creations in grand Qing Dynasty that such painting style as Chinese and Western Co-Brushing Painting is the first form of painting in Chinese painting history, but also creates the first example making cooperation of Chinese and western painters’ works completed in a same work; this form of painting shows a sprit of westernized Chinese painting. Among many literatures, the definition between the Co-Brushing Painting in the palace and Chinese-Meeting-West Painting was not confirmed. After review of many literatures, it is found that the correct way of citation in the Imperial Shi-Qu-Bao-Ji Sequel of Qing Dynasty, and All Completed Handicraft Works Detailed Files of Construction Section, Imperial Household Agency of Qing Dynasty. In this thesis, the author re-determined the difference in name of “South Craftsman” and “Painter” in the palace, and cited their differences. In addition, it researched and discussed the changes and impacts of such painting style as co-brushing painting in grand Qing Dynasty on painting style in Chinese painting history.