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李世庄 著

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出版社： 中山大学出版社

ISBN：9787306050373

版次：1

商品编码：11619497

包装：平装

外文名称：China trade painting 1750s to 1880s

开本：16开

出版时间：2014-11-01

用纸：胶版纸

页数：308

字数：500000

正文语种：英文

编辑推荐

　　 《中国外销画：1750s-1880s》是作者过去十年间在中国的外销艺术研究之成果，本书广泛使用了不少中外原始史料，搜罗了很多珍贵又从未发表过的外销艺术品，目的是为读者展示中国外销画之重要性和影响，对中国艺术史的书写别具参考价值。

内容简介

　　《中国外销画：1750s-1880s》的内容为艺术史研究成果，全书通过剖析学术界就中国外销画研究之种种问题，以及当前海内外就此研究的状况，反映外销画是跟中外贸易和文化交流有多重关系的艺术品。作者研究十八至十九世纪外销画的发展史，从侧门展示了中国外销话在艺术史研究中的重要性和影响。本书对我们了解近现代外销画的发展和贸易有较大帮助，对从事近现代艺术史研究人员来说具有较强的参考价值作用。

作者简介

　　李世庄，香港大学艺术学系哲学博士，善于研究十八及十九世纪中国外销艺术史、香港视觉艺术史，常以艺术史家和艺术评论家身份，在报刊杂志发表评论文章。著作包括《从现实到梦幻——陈福善的艺术》、《黄潮宽的绘画》，以及学术论文数十篇。李世庄曾于香港大学艺术学系任教，现为香港浸会大学视觉艺术院助理教授，并为香港历史研究会之副会长及创办人之一。

目录

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

精彩书摘

　　《中国外销画 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.
　　……

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