Table 7 Educationality and sociability of export drawings
Functions | Year | Authors | Findings |
|---|---|---|---|
Educationality | 2021 | Viktorovna [63] | The author argues that the prosperity portrayed in late Qing dynasty export paintings was an artistic way of portraying China's heavenly empire. In terms of historical examination, these visual works are sometimes more appealing than written descriptions |
2021 | Zhang et al. [9] | The carriers, pigments and painting techniques used in Guangzhou export paintings of the Qing Dynasty. It fully demonstrates the exchange and fusion of Chinese and Western art in painting ideas, methods and aesthetics | |
2022 | Wong [64] | The diverse colonial architectural styles and ship types in Guangzhou export paintings fully reflect the changing aesthetics and aesthetic needs of the material forms of the time, and are an important medium for tracing the influence of Western art on the East | |
2022 | Zhang [8] | The portrayal of scene content in export paintings (in which occupations are portrayed, characters' expressions, trade content, and colors are reflected) is considered to be based on traditional Chinese law. The examination of the content of these paintings is an effective way to learn and understand the differences between early Chinese and Western legal culture | |
2022 | Koo [25] | The author argues that the commonality of artistic characteristics between Chinese and Korean export paintings has prompted a re-examination of the linear understanding of 'non-Western' art history. Their examination should not be distinguished from existing traditional schools of painting. These export paintings are both self-objectifying images instilled by Orientalist ideology and at the same time authentic reflections of indigenous art | |
2013 2016 | The author argues that the pattern of color usage in the costumes of the characters in the Guangzhou export paintings reflects the hierarchical concepts in traditional Chinese ritual education, while the shift in their color usage highlights the emphasis on the idea of humanistic texts | ||
Sociability | 2016 | Park [66] | As a special commodity exported to Japan in the early days, Chinese export paintings were considered a tool that could enhance social capital |
2020 | Hulme [67] | Through an examination of cheap Chinese export paintings, the author shows how these works are manufactured and remanufactured at different points in the production chain (waste dealers, wholesalers, shopkeepers and shoppers). He argues that the rise of these commodity arts reflects both the globalized relationship between production and consumption in material culture and socio-cultural change | |
2019 | Baetens and Lyna [68] | Export painting was seen as a tool for constructing and increasing national identity, but early commodity art did not play these roles with the formation of directly globalized trade networks and the expansion of transnational markets | |
2014 | Peite [28] | In the academic context of the study "In Guangzhou's Thirteen Hongs: Foreign Merchants in Chinese Export Paintings (1700–1900)," the author delineates the multifaceted interactions between foreign merchants in Guangzhou and the local Chinese context during the specified period. The author emphasizes the pivotal role of these export paintings as a window into the socio-economic and cultural exchanges between China and the West | |
2014 | Kleutghen [69] | The author argues that the eighteenth-century Chinese taste for things European was satisfied not so much by the importation of foreign goods as by the domestic production of Western art. The art of export painting both satisfied Western curiosity about China and reflected China's geopolitical position in the global trade network |