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. ……