中國外銷畫 1750s-1880s [China trade painting 1750s to 1880s] 下載 mobi epub pdf 電子書 2024

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　　 《中國外銷畫：1750s-1880s》是作者過去十年間在中國的外銷藝術研究之成果，本書廣泛使用瞭不少中外原始史料，搜羅瞭很多珍貴又從未發錶過的外銷藝術品，目的是為讀者展示中國外銷畫之重要性和影響，對中國藝術史的書寫彆具參考價值。

內容簡介

　　《中國外銷畫：1750s-1880s》的內容為藝術史研究成果，全書通過剖析學術界就中國外銷畫研究之種種問題，以及當前海內外就此研究的狀況，反映外銷畫是跟中外貿易和文化交流有多重關係的藝術品。作者研究十八至十九世紀外銷畫的發展史，從側門展示瞭中國外銷話在藝術史研究中的重要性和影響。本書對我們瞭解近現代外銷畫的發展和貿易有較大幫助，對從事近現代藝術史研究人員來說具有較強的參考價值作用。

作者簡介

　　李世莊，香港大學藝術學係哲學博士，善於研究十八及十九世紀中國外銷藝術史、香港視覺藝術史，常以藝術史傢和藝術評論傢身份，在報刊雜誌發錶評論文章。著作包括《從現實到夢幻——陳福善的藝術》、《黃潮寬的繪畫》，以及學術論文數十篇。李世莊曾於香港大學藝術學係任教，現為香港浸會大學視覺藝術院助理教授，並為香港曆史研究會之副會長及創辦人之一。

目錄

Introduction
1 Current scholarships on the study of China trade painting
1.1 James Orange's The Chater Collection
1.2 Chinese Export Art in the Eighteenth Century by Margaret Jourdain
1.3 Carl Crossman's The China Trade
1.4 Craig Clunas's writings on Chinese export art
1.5 Major exhibition catalogues and research papers on Chinese export art

2 Moulding for the West
2.1 Chinqua——Early Chinese modellers working at Madras
2.2 Clay portraits of the Danes by Chinese modellers
2.3 Chitqua， "the modeller who steals likeness"

3 Adoption of Western media by Chinese trade painters
3.1 Reverse glass paintings in mid-eighteenth century Canton
3.2 Early Chinese reverse paintings collected in The Chinese Pavilion
3.3 Spoilum / Spillem——The earliest known trade painter in Canton

4 Desire for things Chinese
4.1 Pu-Qua's influence to Masons The Costume of China and other engravings
4.2 Representations of street characters
4.3 Duplicates of Pu-Qua's drawings
4.4 A New discovery on Mackson's Pu-Qua's drawings

5 Lamqua， the "Thomas Lawrence of China"
5.1 How many Lamquas?
5.2 "Ihe identity of Lamqua
5.3 Lamqua vs George Chinnery
5.4 Images of Lamqua with Western eyes
5.5 Beyond commerce——Lamqua's medical pictures

6 Oil portraits by Lamqua
6.1 Portraits of Westerners
6.2 Portraits of Chinese officials and merchants
6.3 Diplomatic exchange of portraits between the Chinese and the Westerners
6.4 Lamqua's view and practice on western style portrait
6.5 Lamqua's painter studio——The secret of Chinese oil painting unveiled
6.6 Relocation of art business to Hong Kong

7 Flourish of China trade painting market since 1840s
7.1 Sunqua and his studio
7.2 Assorted views of China by Tingqua's studio
7.3 Implication of Samqua's drawings
7.4 Monumental landscapes by Youqua
7.5 Nam Cheong and views of Whampoa
7.6 Inspiration from and integration with photography

Bibliography
Appendix 1 Pu-Qua's drawings in Victoria & Albert Museum
Appendix 2 George Henry Mason's The Costume of China， 1800
Appendix 3 PEM/E83895A Drawings of Chinese traders
Appendix 4 PEM/E83942 Dessin de la Chine
Appendix 5 Drawings of Chinese traders in the Phillips Library
Appendix 6 Tinqua's album leaves， d. 1851
Appendix 7 Ink drawings by Samqua， d. before 1847
Colour Plates

精彩書摘

　　《中國外銷畫 1750s-1880s》：
　　It is not surprising to know that Lamqua already gained his reputation in the 1830s ashis name appeared frequently in many contemporary Westerners travel journals anddescriptions. One of the reasons for his fame is perhaps his legendary encounter withGeorge Chinnery， the celebrated British painter who has settled in the China coastsince the 1820s. Having sojourned in India for over twenty years， Chinnery went toMacao in September， 1825. Rumours about Chinnery's migration to the China coastwas prevalent in the literature on the nineteenth century Far East，3~ his acquaintancewith Lamqua was also a common gossip to many visitors who were interested in theart and culture of Canton.
　　How Lamqua got to know Chinnery is still unknown to us although there has beensaying from the Fearon family that these two painters knew each other in Macao， atthe house of the Fearons. Coloniel S.P. Fearon， a descendant of the amily recalled in1970s that
　　My information on Chinnery is that when he arrived in China in 1825 he firstrented a house in Rua Ignacia Battista from James Bannerman， the head of theoffice of the E.I. Comapany； but that later， and for several years， he lived withthe Fearons. In 1837 he stood sponsor at the christening of Elizabeth's last child，my grandfather， Robert Inglis Fearon. It is also said in the family that Lam Qua，the Chinese artist， was a servant of the Fearon， and through his attendance onChinnery was introduced to painting.
　　……

前言/序言

中國外銷畫 1750s-1880s [China trade painting 1750s to 1880s] 下載 mobi epub pdf txt 電子書 格式

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