A Study On Portraits Of The Journal Of Chinese Essence

At the end of the 19 th century and the beginning of the 20 th century,the national crisis filled the society at that time,and the cultural crisis,which was as important as the national crisis,also received the attention of the quintessence in the late Qing Dynasty.The Journal of Chinese Essence was founded in Shanghai by the Quintessence of China faction in the late Qing Dynasty,with the aim of "inventing quintessence of China and preserving essence of China" and the aim of "preserving seed,patriotism and learning".And in the first column of each issue set up "Picture" column,dedicated to the publication of portraits.Firstly,according to the original issue,this paper researches the column name change of the character portrait in The Journal of Chinese Essence,and investigates the schema source of the character portrait.Secondly,it discusses why The Journal of Chinese Essence set up the picture column to publish the portrait.First,to carry on the tradition of making statues of Confucianism since ancient times;Second,the permanent picture column of modern media periodicals publishes portraits to promote the main theme of the journal.The portraits published in The Journal of Chinese Essence echo the founding purpose of the journal.Finally,It is found that the publishing order and logic of the portraits in The Journal of Chinese Essence introduces modern political and artistic concepts on the basis of imitating the traditional "Jing,Shi,Zi and Ji".The first is to create the late Qing Dynasty quintessence respected by the traditional Chinese figures,to reshape the system.At the same time,it is full of the meaning of constructing modern nation state.Second,it published the political officials mainly in Ming Dynasty,especially in the late Ming Dynasty,in order to achieve the revolutionary purpose of full of nationalism;The third is the publication of the ancient human portrait,the continuation of the "Wen" tradition;Fourth,it published the portraits of ancient artists,which not only regarded art as a kind of classical learning to carry on the inheritance,but also was a symbol of the public morality of art in the late Qing Dynasty.