Communications in Humanities Research

- The Open Access Proceedings Series for Conferences


Communications in Humanities Research

Vol. 8, 31 October 2023


Open Access | Article

Integration of Chinese and Western Art in Late Ming Dynasty: Imitation and Innovation with Wu Bin as an Example

Jianing Hua * 1
1 Jiangsu University

* Author to whom correspondence should be addressed.

Communications in Humanities Research, Vol. 8, 76-82
Published 31 October 2023. © 2023 The Author(s). Published by EWA Publishing
This article is an open access article distributed under the terms and conditions of the Creative Commons Attribution (CC BY) license, which permits unrestricted use, distribution, and reproduction in any medium, provided the original work is properly cited.
Citation Jianing Hua. Integration of Chinese and Western Art in Late Ming Dynasty: Imitation and Innovation with Wu Bin as an Example. CHR (2023) Vol. 8: 76-82. DOI: 10.54254/2753-7064/8/20230972.

Abstract

The late Ming Dynasty witnessed an art exchange between two distinct civilizations, the East and the West, which served as a microcosm of globalized art history in China. In the context of numerous Western religious paintings introduced to China by Jesuit missionaries during the late Ming Dynasty, whether Chinese artists who painted in ink at the time borrowed Western painting techniques in their paintings has become a subject of discussion among contemporary scholars. To further explain the integration triggered by this artistic exchange, the research analyses the attitudes of Ming society towards foreign painting. Furthermore, the study conducts the visual comparison methodology to identify the elements of Western painting that were incorporated into Chinese painting during this period, centering on the works of artist Wu Bin (1550-1643) and employing specific information as corroborative substantiation. The results of the study indicate that late Ming society did not exhibit overt animosity towards Western art and that Wu Bin’s paintings contain discernible Western painting inspirations. Yet, these factors did not impede the prevalence of indigenous artistic and aesthetic inclinations in his oeuvre.

Keywords

late Ming Dynasty, artistic convergence, Ming Dynasty art, Wu Bin

References

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2. Chen, S. (2014) History of Chinese Painting. Beijing: China Renmin University of Press.

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5. Liu, D. (1984) Analysis of Portrait Painting Technique of Zeng Jing. Art Research, 2, 56–59.

6. Fairbank, J.K., Reischauer, E.O. and Craig, A.M. (1989) East Asia: Tradition and transformation. Boston: Houghton Mifflin.

7. Zhong, C. (2014) Inheriting and Advocating Chinese Aesthetical Spirit. Hundred Schools in Arts, 6, 1–7.

8. Mo, X. (2002) Missionsries and Eastern Transition of Western Painting in 17-18th Century. Beijing: China Academy of Art Press.

9. Ricci, M. (1986) Della Entrata Della Compagnia Di Gesù e Christianita Nella China. Translated by J. Liu and Y. Wang. Taipei: Kuangchi Cultural Group.

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Data Availability

The datasets used and/or analyzed during the current study will be available from the authors upon reasonable request.

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Volume Title
Proceedings of the 4th International Conference on Educational Innovation and Philosophical Inquiries
ISBN (Print)
978-1-83558-039-4
ISBN (Online)
978-1-83558-040-0
Published Date
31 October 2023
Series
Communications in Humanities Research
ISSN (Print)
2753-7064
ISSN (Online)
2753-7072
DOI
10.54254/2753-7064/8/20230972
Copyright
31 October 2023
Open Access
This article is an open access article distributed under the terms and conditions of the Creative Commons Attribution (CC BY) license, which permits unrestricted use, distribution, and reproduction in any medium, provided the original work is properly cited

Copyright © 2023 EWA Publishing. Unless Otherwise Stated