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학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
커뮤니티
연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
초록· 키워드
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The intermarriage of Chinese and European painting technique began when a handful of European missionary artists were accepted into the Qing court. The most famous of the Jesuit missionary painters was the Giuseppe Castiglione, Lang Shining(1688-1766), who arrived China in 1715 and went on to serve emperor Yongzheng and Qianlong. He created new style of court painting, in which european chiaroscuro and scientific perspective intermingled with Chinese traditional pigments.
On the one hand Qianlong, the great admirer of european civilization, supported Lang Shining to portray imperial family or to record important historical events, on the other hand the emperor controlled and managed Lang’s painting process. The detailed daily record in Archives of the Department of the Imperial Household(淸?) informs us that Qianlong ordered Lang Shining to fullfil following duties for this purpose: 1. Lang Shining had to made sketches or drafts before he formally start to paint. The works could not be executed until the emperor agreed to Lang’s draft. 2. On the instruction of Qianlong, Lang Shining had to collaborate on a painting with chinese court painter. The main subjects which need realistic rendering of light and shadow such as emperors face, muscles of horses or magnificent feathers of peacocks were mostly executed by Lang Shining, the background with trees and mountains of calligraphic brushstrokes executed by chinese painters. 3. Lang Shining had to copy the works of great chinese masters in traditional chinese style.
Throughout his life Qianlong had a strong affection for his horses, many of which he had portrayed by Lang Shining. Although horses had been a popular subject in Chinese painting since the Tang Dynasty, the emperor seems to have preferred the European naturalistic treatment of his horses to a more traditional Chinese linear rendering. However Qianlong also wished that the western characteristics did not overshadow traditional chinese aesthetics. Eight Imperial Horses by Lang Shining for example shows an interesting intermarriage of european and chinese painting techniques. The naturalistically rendered horses are superimposed on landscapes painted in Chinese style. The green and blue colors of the background and the composition devided by trees and river remind Noble Steed in autumn landscape of Zhao Mengfu. Ten Imperial Horses -Ruyicong shows typical western painting technique in the naturalistically rendered horse muscles and realistic patterns on skin. However the simple composition and the inscription in which the name and size of each horse appeared in Chinese, Manchu and Uighur, remind us Five Horses by Li Goglin. In the inscription on this painting Qianglong named Lang’s style as“convexo-concave painting method, aotudanqingfa, 凹凸丹靑法”. In Steeds dedicated by Dzungar tribe three envoys of Dzungar tribe and horses dedicated to Emperor Qianlong are depicted. The whole subjects of the work are described just in ink without any color. The thin ink line and the lateral pose of the horse are similar to the technique“baimiao”of Li Gonglin in Song Dynasty.
Lang Shining’s horse painting exemplify the new direction of court art during the reign of Qianlong. Lang brought wih him, in person, to the imperial court itself, scientific knowledge of anatomy, light and perspective, and more naturalistic means of representation. For the first time European and Chinese painters were able to share their skill and collaborate on paintings, creating works that were a new fusion of western and chinese painting technique.
On the one hand Qianlong, the great admirer of european civilization, supported Lang Shining to portray imperial family or to record important historical events, on the other hand the emperor controlled and managed Lang’s painting process. The detailed daily record in Archives of the Department of the Imperial Household(淸?) informs us that Qianlong ordered Lang Shining to fullfil following duties for this purpose: 1. Lang Shining had to made sketches or drafts before he formally start to paint. The works could not be executed until the emperor agreed to Lang’s draft. 2. On the instruction of Qianlong, Lang Shining had to collaborate on a painting with chinese court painter. The main subjects which need realistic rendering of light and shadow such as emperors face, muscles of horses or magnificent feathers of peacocks were mostly executed by Lang Shining, the background with trees and mountains of calligraphic brushstrokes executed by chinese painters. 3. Lang Shining had to copy the works of great chinese masters in traditional chinese style.
Throughout his life Qianlong had a strong affection for his horses, many of which he had portrayed by Lang Shining. Although horses had been a popular subject in Chinese painting since the Tang Dynasty, the emperor seems to have preferred the European naturalistic treatment of his horses to a more traditional Chinese linear rendering. However Qianlong also wished that the western characteristics did not overshadow traditional chinese aesthetics. Eight Imperial Horses by Lang Shining for example shows an interesting intermarriage of european and chinese painting techniques. The naturalistically rendered horses are superimposed on landscapes painted in Chinese style. The green and blue colors of the background and the composition devided by trees and river remind Noble Steed in autumn landscape of Zhao Mengfu. Ten Imperial Horses -Ruyicong shows typical western painting technique in the naturalistically rendered horse muscles and realistic patterns on skin. However the simple composition and the inscription in which the name and size of each horse appeared in Chinese, Manchu and Uighur, remind us Five Horses by Li Goglin. In the inscription on this painting Qianglong named Lang’s style as“convexo-concave painting method, aotudanqingfa, 凹凸丹靑法”. In Steeds dedicated by Dzungar tribe three envoys of Dzungar tribe and horses dedicated to Emperor Qianlong are depicted. The whole subjects of the work are described just in ink without any color. The thin ink line and the lateral pose of the horse are similar to the technique“baimiao”of Li Gonglin in Song Dynasty.
Lang Shining’s horse painting exemplify the new direction of court art during the reign of Qianlong. Lang brought wih him, in person, to the imperial court itself, scientific knowledge of anatomy, light and perspective, and more naturalistic means of representation. For the first time European and Chinese painters were able to share their skill and collaborate on paintings, creating works that were a new fusion of western and chinese painting technique.
목차
Ⅰ. 머리말
Ⅱ. 乾隆帝의 西畵인식과 활용
Ⅲ. 郞世寧의 貢馬圖고찰
Ⅳ. 맺음말
참고문헌
〈Abstract〉
참고문헌 (25)
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