Although both the Ming and Qing dynasties implemented the Closed Door Policy, China wasn’t spared in the overwhelming tide under the forceful push of western powers. But when it came to the mid-Qing Dynasty, the sensational Yangzhou School testified to the impact of civil aesthetics on artistic landscape and the development of art history.Īnother force to be reckoned with in the development of painting is the expansion of global trade since the 16th century. Such a force was still hidden or ambiguous in the Ming Dynasty. Meanwhile, the civil culture, which emerged with the prosperity of commerce and cities, also became a driving force for painting.
Interest of the literati remained to be the most powerful impetus for the development of painting in the Ming and Qing dynasties. As for the painting of birds and flowers, insurmountable achievements were made during this prolific period in no matter the court painting school that valued thedepiction riches and honors in the early Ming Dynasty, or the school of rustic charm represented by painters such as Xu Wei (1521-1593) and Zhu Da (1626-ca. In terms of landscape painting, for instance, various painting schools, such as the Zhe School, Wumen School, Songjiang School, Wulin School, Loudong School, Yushan School, Yangzhou School, Jingjiang School, had reached the pinnacle of the development based on the foundation laid in the Song and Yuan dynasties. It is no exaggeration to say that great masters emerged one after another from the prolific painting schools during the Ming and Qing period.
In the history of ancient Chinese painting, the Ming and Qing dynasties (1368-1912) witnessed glorious development of various painting styles and schools,most of which were established during the earlier Song and Yuan dynasties (960-1368).
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