The Exploration Of Portraits Of Kangxi, Yongzheng And Qianlong Periods Under The Influence Of Western Style

Before Ming and Qing dynasty, Chinese and western culture and art exchange relatively scattered and do not have a big influence. But in late Ming and early Qing dynasty so many missionaries came to China, and western classicism realistic painting followed. To a certain extent promote the development of the portrait. This paper takes the imperial portraits and folk portraits of kangxi, Yongzheng and Qianlong periods as the main objects of study, and to ponder over the exploration of portraits under the influence of western style through the categorical comparison of pictures and the carding of literature materials.First of all, in the development of imperial portraits, the impact of western style on imperial portraits and the actual acceptance of western painting style are illustrated by the activities of the missionary artists and the images recorded in correspondence with the missionaries. The impact is carried through the aspects of light and shade, shape, composition, perspective and so on. The development of emperor's portrait experienced several stages because of the different aesthetic interests of Kangxi,Yongzheng and Qianlong.Second, The imperial portraits under the influence of western style declined with the decay of dynasty and the appearance of camera, but the western style painting had found its suitable environment. Driven by the salt merchants and usurers, "imitates the Occident conception", "to imitate the Occident writing technique" gradually sprung up, thus the folk portraits of this periods took on a new look. By the study of the typical folk portraits to explore the influence of western style painting, civil painting, painting tips to the portraits painting.Portrait appeared in the form of visual images and had a new face in the process of influence. We saw that acceptance this process was decided by indigenous aesthetic interest, social economy, ideological jointly factors. To reveal the integration and innovation by rereading the portraits of kangxi, Yongzheng and Qianlong periods is not the simple addition at technical level. Facing with foreign arts, we should base on our national cultural traditions and the mutual understanding. That is the enlightens given to us by the integration of the Chinese art and western art in the seventeenth and eighteenth centuries.