An Analysis Of The Formation Of Wu Jun’s "Silk Drawing" In The Late Qing Dynasty And Its Transmission To The West

The Victoria-Albert Museum in the United Kingdom has a set of "Silk Drawings"which completely shows the silkworm rearing and reeling process in Guangzhou in the Qing Dynasty.The paintings have the seal of the painter Wu Jun.The time of drawing was about 1870-1890.Wu Jun’s "Silk Making" has 16 paintings in total,appearing in the form of a series of books.The content of the picture shows the production method of sericulture and spinning in traditional Chinese society.At the same time,it also adds new elements with the characteristics of the times,such as "silk "Business","Warehouse","Foreign Bank" and other specific scenes in Guangzhou.This article takes Wu Jun’s "Silk Drawing" as the research object,adopts the literature research method,and is supported by cross-cultural communication related theories to explore the formation process of Wu Jun’s "Silk Drawing" and the reason for its transmission to the west.The research ideas of this article are as follows:First of all,this research explores the origins of Wu Jun’s "Silk Drawing",and analyzes the creation and collection of Wu Jun’s "Silk Drawing" as well as the format of the paintings,and compares the volume of Wu Jun’s "Silk Drawing" with the Song Dynasty "Sericulture Weaving Picture" and the Qing Dynasty "Imperial Farming Weaving Picture" in terms of links.Secondly,this research analyzes the strong epochal character of Wu Jun’s "Silk Drawing".From the content of the picture,it points out that the time characteristic of Wu Jun’s "Silk Drawing" is mainly reflected in the appearance of silk merchants and foreign companies.The scientific classification and the characteristics of religious paintings appearing in the figures.Finally,this research explores the production motivations of Wu Jun’s "Silk Drawing" from the perspective of cross-cultural communication.It mainly includes three levels: the first level is the smooth flow of Sino-Western trade since ancient times,making Wu Jun’s "Silk Drawing" as a representative The second level is that missionaries came to China during the Ming and Qing dynasties and introduced various paintings with a strong religious color,which affected the Ming and Qing court and folk painting traditions.The third level is the Chinese folk’s selective acceptance of Western paintings is mainly manifested in the praise and acceptance of Western paintings by the Ming and Qing courts,the changes in the style of woodblock prints in the south of the Yangtze River,and the production of export paintings in the southern Guangzhou area.This study believes that the reason why Wu Jun’s "Silk Drawing" was accepted by the West is that this painting not only records the social style and life customs of the Chinese people in the late Qing Dynasty,but also has strong characteristics of the times and rich western religious painting color,which caters to Westerners.The aesthetics and value concept of the artist is a model for Westerners to accept the improved traditional Chinese painting.