Three principal groups of artists were working during the Qing: the traditionalists, who sought to revitalize painting through the creative reinterpretation of past models; the individualists, who practiced a deeply personal form of art that often carried a strong message of political protest; and the courtiers, the officials, and the professional artists who served at the Manchu court.
Individualists
The first, sometimes called "the Individualists," was a group of men mostly made up of loyalists to the fallen Ming dynasty. The Individualists referred to themselves as "leftover subjects of the Ming". They practiced a very personal form of art that sought to express their reaction to the Manchu conquest, that being either a sense of resistance, reclusion, or sadness over the fall of the Ming dynasty. They often removed themselves not only from government circles but also from society, often by becoming Buddhist monks. The Individualists sought to express in their art their own feelings regarding the fall of the Ming dynasty and the conquest of China by a group of people whom they regarded as barbarians. These artists focused particularly on the expressive potential of painting and sought not to emulate past models so much as to use poetry, painting, and calligraphy in ways that would express their feelings of defiance and loss over the fall of the Ming dynasty.
Traditionalists
A second group of Qing artists included those men who dedicated themselves to the preservation of Chinese traditional culture by returning to the careful study of a canon of earlier masters that had been defined in the 17th century. Their commitment to replicating and being inspired by this earlier canon of masterpieces led to the labeling of these artists as "the Orthodox school." The Orthodox masters made a point of first imitating these established earlier models and then trying to incorporate these stylistic traditions into their own work. They often created albums of paintings wherein each leaf would be devoted to the exposition of a specific earlier style. In this way, a particular album would demonstrate an individual's command over a whole range of earlier stylistic traditions.
Courtiers
A third group of Qing artists included commercial and court artists who specialized in large-scale decorative works. Such artists were employed by the imperial court to produce documentary, commemorative, and decorative works for the imperial palaces. Masters of technique, these artists drew upon the representational styles of the Song dynasty, when meticulously descriptive painting techniques were highly revered.
Individualists
The first, sometimes called "the Individualists," was a group of men mostly made up of loyalists to the fallen Ming dynasty. The Individualists referred to themselves as "leftover subjects of the Ming". They practiced a very personal form of art that sought to express their reaction to the Manchu conquest, that being either a sense of resistance, reclusion, or sadness over the fall of the Ming dynasty. They often removed themselves not only from government circles but also from society, often by becoming Buddhist monks. The Individualists sought to express in their art their own feelings regarding the fall of the Ming dynasty and the conquest of China by a group of people whom they regarded as barbarians. These artists focused particularly on the expressive potential of painting and sought not to emulate past models so much as to use poetry, painting, and calligraphy in ways that would express their feelings of defiance and loss over the fall of the Ming dynasty.
Traditionalists
A second group of Qing artists included those men who dedicated themselves to the preservation of Chinese traditional culture by returning to the careful study of a canon of earlier masters that had been defined in the 17th century. Their commitment to replicating and being inspired by this earlier canon of masterpieces led to the labeling of these artists as "the Orthodox school." The Orthodox masters made a point of first imitating these established earlier models and then trying to incorporate these stylistic traditions into their own work. They often created albums of paintings wherein each leaf would be devoted to the exposition of a specific earlier style. In this way, a particular album would demonstrate an individual's command over a whole range of earlier stylistic traditions.
Courtiers
A third group of Qing artists included commercial and court artists who specialized in large-scale decorative works. Such artists were employed by the imperial court to produce documentary, commemorative, and decorative works for the imperial palaces. Masters of technique, these artists drew upon the representational styles of the Song dynasty, when meticulously descriptive painting techniques were highly revered.
Ren Yi (1840-1896)
Ren Yi, better known by his courtesy name as Ren Bonian,
was a painter of the Qing Dynasty. He was born in Shaoxing of
Zhejiang Province, but after the death of his father in 1855 he lived in
Shanghai. This move placed him in a more urban world that was exposed to
Western thinking. In Shanghai he became associated with the Shanghai School
which fused popular and traditional styles. Ren Yi was noted for his bold
brushstrokes and use of color. He is regarded the most outstanding one of
the "Four Rens" - the other three “Rens” are two of his uncles and
one of his cousins, who are all notable painters.
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‘Poor Junior Officer’ by Ren Yi
Hanging scroll, colour on paper
1888
164.2 cm x 77.6 cm
Collection of Zhejiang Provincial Museum
Hanging scroll, colour on paper
1888
164.2 cm x 77.6 cm
Collection of Zhejiang Provincial Museum
The Shanghai School of Painting
The Shanghai School of painting was an art trend characterized by a shift from traditional Chinese literati-themed painting to portraiture and generally more colorful and up-beat themes. This style marked the first major departure from traditionalist Chinese painting by focusing less on the symbolism emphasized by the Literati style and more on the visual content of the painting itself. The most fruitful era of the representatives of this art style spans from the 1840s to the early 1900s. After the first Opium War which ended in 1842, Shanghai became a treaty port through which trade with foreign merchants was conducted. The city became one of the first new urban metropolises and its robust growth and international atmosphere appealed to artists from other regions. The newly created wealth in Shanghai provided fertile ground for the patronage of art. Life in such a vibrant city spawned a more commercial-oriented style of painting which combined traditional restraints with a more liberated and imaginative approach. Artists from throughout the region flocked to Asia's largest and richest city, gathered themselves into groups and art associations, and collectively created a new style. This striking, innovative art style coupled with its birthplace came to be called the Shanghai School of painting.
The painters of the Shanghai School preferred to paint subjects that were popular among their contemporaries instead of traditional subjects like landscapes. These included paintings of popular deities and legends, as well as the famous Shanghai courtesans. One feature that set the Shanghai School painters apart from traditional Chinese artists was the fact that most of them were professional painters. Before this time, most painters had other jobs which gave them their sustenance. Another change was that during this time, painters publicly relied on agents to help sell their works and they also exhibited their art work in fan shops, where customers could come and view them and commission a painting.
The Shanghai School of painting marked a unique time period in China's past which was characterized by ruptures and profound changes. It was also unique in terms of its artistic style and geographical location.