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Integration of Chinese and Western Art in Late Ming Dynasty: Imitation and Innovation with Wu Bin as an Example
- 1 Jiangsu University
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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
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Cite this article
Hua,J. (2023). Integration of Chinese and Western Art in Late Ming Dynasty: Imitation and Innovation with Wu Bin as an Example. Communications in Humanities Research,8,76-82.
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
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