Study On Gouache Of Fan For Export In Qing Dynasty

In April 2019,the author went to Zhejiang to participate in the relevant academic research preparatory activities for the exhibition of art for export in Hangzhou Arts and Crafts Museum.For the first time,the author came into contact with the original works of fans for export in the Qing Dynasty and had a preliminary understanding of fans for export and gouache paintings on the fan surface.In order to further study the fan gouache paintings of the Qing Dynasty,the author went to museums around Guangzhou to carry out investigation and research activities,took a large number of original Gouache paintings of the Qing Dynasty,looked up a wealth of relevant art research literature at home and abroad,and developed a research interest in the unique artistic style and achievements of the fan gouache paintings for export.On this basis,the author makes a systematic and in-depth study of the origin,style,form and origin,art and social and historical value of the fan gouache for export in the Qing Dynasty.From the middle of the 18 th century to the end of the 19 th century,Chinese painted with western gouache pigments on fan surfaces,with a variety of themes and styles,which were among the finest gouache paintings of the Qing Dynasty.These gouache paintings were made by anonymous painters in Guangdong,and were scattered abroad with the fan trade,so they have not been systematically and deeply studied by academic circles for a long time.Therefore,the author uses the methods of stylistics,iconology,mutual authentication between text and text and proving history by drawing to start with the study of the three main forms of the exported fan gouache,namely,the fan painting in panoramic form,the fan painting in “Kaiguang” form,flower and bird painting with folded branches in the form of circular fan,this paper reveals and analyses the important value of fan gouache painting in Qing Dynasty in the history of Chinese gouache painting and the research of the history of Sino-Western art exchange.First,the gouache fan painting in panoramic form is good at depicting scenery and characters.The author studies the earliest time of the landscape gouache painted by foreigners by the method of mutual verification of pictures and pictures.By analyzing the formation and creation methods of the realistic style of panoramic gouache fan paintings,the author believes that from the appearance of half-Chinese and half-western style gouache fan paintings in the mid-18 th century to the appearance of realistic style gouache fan paintings in the early 19 th century,the panoramic gouache fan painting represents the rise and development of gouache paintings in China.At that time,gouache fan paintings,which were modeled or partially modeled after western paintings,and the Chinese-style Chinese humanistic fan paintings painted with gouache paint,reflected the "Chinese and western paintings spread to each other " in the history of Sino-Western art exchange.Secondly,the gouache fan painting in “Kaiguang” form is closely related to the“Kaiguang” of porcelain painting for export and the concept of Chinese garden.Through the form analysis,the author believes that fan painting in “Kaiguang” form that appeared in the late 18 th century not only combines the Chinese decorative technique of “Kaiguang” with the western gouache painting,but also contains the Chinese garden aesthetics.The fan maker and painter also transferred the heraldry patterns on the export porcelain and the rich meaning of "Kaiguang" on Canton porcelain into the painting of gouache fans.From the perspective of themes,this kind of fan paintings also combine gouache paintings of different themes in several "Kaiguang",such as landscape painting fans in Guangdong,Hong Kong and Macao（unique to fan gouache paintings）,as well as painting fans combining characters and landscapes.All of these were important measures for Chinese people to accept and innovate gouache painting in the 18 th and 19 th centuries.Third,group-fan gouache is good at depicting broken branches of flowers and birds.From the perspective of cultural exchange between China and the West,the author is devoted to analyzing the historical phenomenon that Chinese fans,such as gouache fans with broken branches and flowers and birds,have influenced the development of western painting art.For example,as a key element of Chinese style painting,they appear in the works of artist Boucher.Chinese fan paintings,such as gouache group fans with broken branches,flowers and birds,not only influenced the creations of famous western artists in the 18 th and 19 th centuries,but also influenced the etiquette and social activities of western society,and became the symbol of female identity.This kind of fan painting is also divided into Chinese style and western style gouache fan painting with folded branches and flowers and birds.The western style gouache fan painting with folded branches and flowers and birds is influenced by western rococo art and natural history painting.This reflects the process of mutual influence and promotion of Chinese and Western art and culture.