The Origin of Chinese Propaganda Poster
Propaganda poster also called placard. In the western countries, it’s called poster. The propaganda poster in China started from advertisement, poster and placard. They are the products of the 20th century. Advertisement, poster and placard can be divided into two categories: public and commercial. Public placard focuses on social welfare issues while commercial placard serves the function of promoting merchandise and satisfying consumer’s need. Propaganda poster is different. It has no specific commercial need but focuses on political purpose. Their art serves the need of the society, such as promoting government policy, social movement and political education.
During the late Qing dynasty in the 19th century, there came a form of journal-based news illustration and topics of which ranged from news, political reform, military and wars. This kind of magazine succeeded in attracting public interests and became popular as most of the illustrations could reflect different kinds of life in the society by using simple pictures with easy-to-read captions. Examples include the “Dianshizhai Art Journal” and “New Year Painting on News”, first published in 1884 and 1905 respectively. Due to social changes and the need of market in early 20th century, some forms of woodcut New Year Painting and stone broad printing pictures then grew in amount gradually. Most of the subjects were related to commercial products, external wars during the Qing dynasty, different kinds of new stuff and religious promotions. At that time, the form of propaganda poster has gradually formed.
The Rise of Advertising Poster in China
In the early 20th century during the Republican period (1912-1949), western commercial and culture were introduced into China. The market therefore needed a huge amount of advertisements and posters to foster sales and promotion. Thanks to the trend of “Calendar Posters” in Shanghai and the rise of film posters, the heyday of commercial and advertising art was 1920s to 1940s.
The Rise of Propaganda Poster
The emergence of Propaganda Poster in China began with the needs of revolutionary movements and wars in the early 20th century. Such as the revolutionary posters printed by the Business Bureau in 1912, the propaganda posters about the first civil war between Kuomintang and Communist Party printed in 1927 and Anti-Japanese War patriotic propaganda posters in 1931 etc.
However, during the Anti-Japanese war, the creation of propaganda posters and posters nearly came to an end due to the shortage of materials and social turmoil. Only a few patriotic woodblock prints and a tiny amount of colour-printed propaganda posters were made, conveying messages fighting against Japanese. Encouraging and awakening people of the whole nation to resist Japanese and save the nation.
During the period from 1937 to 1949, there was a great leap in the development of a new form of woodcut painting in liberated areas of Communist Party of China. These art pieces went deep into people’s lives, and were used for promoting the ideology of anti-Japanese and stimulating the patriotic sentiments. The art was greatly influential in both Anti-Japanese War and Liberation War that people welcomed and were affected by this kind of art promotion.
Propaganda Poster of New China
After the founding of New China in 1949, the government fully supported the development of Propaganda Poster, block print, improved New Year Painting and comic strip that brought a wide influence on society. Under the Sino-Soviet friendship at that time, the painting techniques and expression of the propaganda were greatly influenced by the style of Soviet Union during the 1950s: from the simple style during the Anti-Japanese War and the Yan’an Period to the style of western painting which emphasized on the composition, rich colours and artistic expression. From the beginning of 1950s to the end of 1970s, artists who had been engaging in oil painting, traditional Chinese painting, wood carving, comics and New Year Painting took part in creating propaganda poster, contributing to many excellent works back then.
Social function and craze of Propaganda Poster
In the early 1950s when New China was just established, Propaganda Poster served an essential role in the society. To deal with the urgent need for social development and facilitate the implementation of different governmental policies during the time, Propaganda Poster was used to be a direct channel in order to educate the public with the knowledge of new policies introduced by the new government. With both picture and text, it was easy to understand and well known by their emotional appeal and low production cost. Delivery and showcase of which was so convenient that it caused great social impact at the time. In response to the rise of New China in 50s, its style was cheerful, energetic, idealistic and positive, with themes of national infrastructure, protection of the homeland, industry and national defense, image of women and children, rural life, leisure activities and festivals, history of the revolution, portraits of the national leaders, etc. In the late 1950s, themes of the Propaganda Poster became even more diversified after social movements like Great Leap Forward and Three Red Banners Movement.
During the period from the 1960s to the end of 1970s, the use of Propaganda Poster was overwhelming due to the political need. During the Cultural Revolution, main themes of the propaganda included Chairman Mao, Red Guards, struggle session, heroes and role models, Up to the Mountains and Down to the Countryside Movement, production in industry and agriculture, People’s Liberation Army and model plays. The style was passionate, ardent and powerful with the use of vivid colours.
Fading and evolution of Propaganda Poster
After ten years of Cultural Revolution, social and political movements gradually reduced. Since the reform and opening up in 1980s, the influence of new media towards modern life has been growing. Because of the change in the format of propaganda in reality, the use of propaganda poster had been becoming less common starting from the early 80s. To promote the Four Modernizations, main theme of propaganda included modern agriculture, modern industry, modern national defense, modern science and technology, culture and morals and hygiene education. In the 21st century, photography has basically replaced drawing in Chinese Propaganda Poster whereas the number of national policy propaganda posters published by the government each year officially is very few now.
The value of Chinese Propaganda Poster
These illustrations, propaganda posters and posters count as the modern Chinese cultural heritage. They serve as vivid and artistic visual portrait of the Chinese history with various subjects including politics, economics, culture and people's livelihood. Apart from their historic value, they are also worth of their value in social studies, artistic appreciation and modern printing. Propaganda poster is not only a noticeable part of Chinese modern art but also a reflection of the prevailing social and cultural style and features at the time when it was produced, creating a microcosm of the times. Although time has passed, Chinese Propaganda Poster is though-provoking and inspiring when people look back into its history.
By studying Chinese Propaganda Poster we can peek into the cultural and social development in modern China, as an approach to facilitate our understanding in the emerging great power.
Martin Cheung
Propaganda poster also called placard. In the western countries, it’s called poster. The propaganda poster in China started from advertisement, poster and placard. They are the products of the 20th century. Advertisement, poster and placard can be divided into two categories: public and commercial. Public placard focuses on social welfare issues while commercial placard serves the function of promoting merchandise and satisfying consumer’s need. Propaganda poster is different. It has no specific commercial need but focuses on political purpose. Their art serves the need of the society, such as promoting government policy, social movement and political education.
During the late Qing dynasty in the 19th century, there came a form of journal-based news illustration and topics of which ranged from news, political reform, military and wars. This kind of magazine succeeded in attracting public interests and became popular as most of the illustrations could reflect different kinds of life in the society by using simple pictures with easy-to-read captions. Examples include the “Dianshizhai Art Journal” and “New Year Painting on News”, first published in 1884 and 1905 respectively. Due to social changes and the need of market in early 20th century, some forms of woodcut New Year Painting and stone broad printing pictures then grew in amount gradually. Most of the subjects were related to commercial products, external wars during the Qing dynasty, different kinds of new stuff and religious promotions. At that time, the form of propaganda poster has gradually formed.
The Rise of Advertising Poster in China
In the early 20th century during the Republican period (1912-1949), western commercial and culture were introduced into China. The market therefore needed a huge amount of advertisements and posters to foster sales and promotion. Thanks to the trend of “Calendar Posters” in Shanghai and the rise of film posters, the heyday of commercial and advertising art was 1920s to 1940s.
The Rise of Propaganda Poster
The emergence of Propaganda Poster in China began with the needs of revolutionary movements and wars in the early 20th century. Such as the revolutionary posters printed by the Business Bureau in 1912, the propaganda posters about the first civil war between Kuomintang and Communist Party printed in 1927 and Anti-Japanese War patriotic propaganda posters in 1931 etc.
However, during the Anti-Japanese war, the creation of propaganda posters and posters nearly came to an end due to the shortage of materials and social turmoil. Only a few patriotic woodblock prints and a tiny amount of colour-printed propaganda posters were made, conveying messages fighting against Japanese. Encouraging and awakening people of the whole nation to resist Japanese and save the nation.
During the period from 1937 to 1949, there was a great leap in the development of a new form of woodcut painting in liberated areas of Communist Party of China. These art pieces went deep into people’s lives, and were used for promoting the ideology of anti-Japanese and stimulating the patriotic sentiments. The art was greatly influential in both Anti-Japanese War and Liberation War that people welcomed and were affected by this kind of art promotion.
Propaganda Poster of New China
After the founding of New China in 1949, the government fully supported the development of Propaganda Poster, block print, improved New Year Painting and comic strip that brought a wide influence on society. Under the Sino-Soviet friendship at that time, the painting techniques and expression of the propaganda were greatly influenced by the style of Soviet Union during the 1950s: from the simple style during the Anti-Japanese War and the Yan’an Period to the style of western painting which emphasized on the composition, rich colours and artistic expression. From the beginning of 1950s to the end of 1970s, artists who had been engaging in oil painting, traditional Chinese painting, wood carving, comics and New Year Painting took part in creating propaganda poster, contributing to many excellent works back then.
Social function and craze of Propaganda Poster
In the early 1950s when New China was just established, Propaganda Poster served an essential role in the society. To deal with the urgent need for social development and facilitate the implementation of different governmental policies during the time, Propaganda Poster was used to be a direct channel in order to educate the public with the knowledge of new policies introduced by the new government. With both picture and text, it was easy to understand and well known by their emotional appeal and low production cost. Delivery and showcase of which was so convenient that it caused great social impact at the time. In response to the rise of New China in 50s, its style was cheerful, energetic, idealistic and positive, with themes of national infrastructure, protection of the homeland, industry and national defense, image of women and children, rural life, leisure activities and festivals, history of the revolution, portraits of the national leaders, etc. In the late 1950s, themes of the Propaganda Poster became even more diversified after social movements like Great Leap Forward and Three Red Banners Movement.
During the period from the 1960s to the end of 1970s, the use of Propaganda Poster was overwhelming due to the political need. During the Cultural Revolution, main themes of the propaganda included Chairman Mao, Red Guards, struggle session, heroes and role models, Up to the Mountains and Down to the Countryside Movement, production in industry and agriculture, People’s Liberation Army and model plays. The style was passionate, ardent and powerful with the use of vivid colours.
Fading and evolution of Propaganda Poster
After ten years of Cultural Revolution, social and political movements gradually reduced. Since the reform and opening up in 1980s, the influence of new media towards modern life has been growing. Because of the change in the format of propaganda in reality, the use of propaganda poster had been becoming less common starting from the early 80s. To promote the Four Modernizations, main theme of propaganda included modern agriculture, modern industry, modern national defense, modern science and technology, culture and morals and hygiene education. In the 21st century, photography has basically replaced drawing in Chinese Propaganda Poster whereas the number of national policy propaganda posters published by the government each year officially is very few now.
The value of Chinese Propaganda Poster
These illustrations, propaganda posters and posters count as the modern Chinese cultural heritage. They serve as vivid and artistic visual portrait of the Chinese history with various subjects including politics, economics, culture and people's livelihood. Apart from their historic value, they are also worth of their value in social studies, artistic appreciation and modern printing. Propaganda poster is not only a noticeable part of Chinese modern art but also a reflection of the prevailing social and cultural style and features at the time when it was produced, creating a microcosm of the times. Although time has passed, Chinese Propaganda Poster is though-provoking and inspiring when people look back into its history.
By studying Chinese Propaganda Poster we can peek into the cultural and social development in modern China, as an approach to facilitate our understanding in the emerging great power.
Martin Cheung
Introduction to Old Calendar Poster Art
Old calendar poster art, also known as "old calendar New Year paintings," evolved from China’s unique folk traditional art form, the New Year painting. These artworks incorporated annual calendars, seasonal dates, and festivals, highlighting the function of months, leading to their name “calendar posters.” With their combination of aesthetic appeal and practicality, they gained immense popularity across China, becoming a widely loved branch of New Year paintings. Originating in Shanghai, this art form emerged during the late Qing Dynasty, when the opening of ports attracted foreign investment and fostered Shanghai’s commercial development. The influx of Western consumer culture into China spurred the calendar poster advertising model, which enhanced product competitiveness and sales. This led to the widespread use of calendar posters alongside movie posters during the early 20th century.
Historical Significance
Calendar posters became a crucial part of early 20th-century fashion culture, peaking between the 1920s and 1940s and declining by the 1950s. The earliest known example is the "Chinese and Western Calendar Poster of Twenty-four Filial Piety," printed and distributed by Shanghai’s Shen Bao office in 1883 (Guangxu 9th year of the Qing Dynasty). This poster, now preserved in the Shanghai Library, marks the origins of calendar posters. These artworks document a specific era, a piece of history, and a cultural narrative, holding irreplaceable research value in the study of China’s modern history, art history, commercial history, and film industry.
Development and Popularity
Following the Opium Wars, Western consumer culture entered China, necessitating promotional advertising. Initially, foreign merchants used Western-themed artworks featuring still life, Madonna images, and landscapes, but these failed to resonate with Chinese audiences. Gradually, they adopted localized methods, integrating Chinese traditional painting and woodblock New Year painting elements like myths, legends, and folk customs. These were combined with calendars and product advertisements, produced using lithographic printing, and distributed with imported goods. This localization gained acceptance among the Chinese public, marking the beginning of early calendar poster art.
Commercial and Artistic Evolution
Various industries, including tobacco companies like British-American Tobacco, Nanyang Brothers, and Huacheng, as well as insurance, chemical dye, kerosene, battery, soap, mosquito coil, and pharmaceutical businesses, utilized calendar posters for advertising. Concurrently, Chinese enterprises entered the competition, fostering the development of a new art genre: "brush-wiping watercolor painting."
The early artworks merged traditional Chinese painting techniques with Western styles, such as realistic sketching, chiaroscuro, translucent watercolors, and oil painting realism. This hybrid style, combining traditional meticulous painting, Western watercolor, and charcoal techniques, was pioneered by Zheng Mantuo (1888–1961) in 1914. He used line drawing to outline figures, blending light and shadow with a brush dipped in charcoal powder for a soft gradient effect, followed by layered watercolor. This method brought vibrancy, three-dimensionality, and a tangible feel, making it ideal for depicting the graceful beauty of women. Calendar posters primarily featured images of women, alongside historical tales, folklore, and modern life scenes, accompanied by product logos and advertisements for promotional purposes.
Printing Technology and Advancements
Before offset printing became widespread in the early 20th century, calendar posters were mainly produced using lithographic printing. This technology, introduced to China in 1876 at the Tushanwan Printing House in Shanghai, advanced to color lithography in 1902 and three-color printing in 1910. The process minimized distortion, maintaining the artwork’s vividness and intricate details, although it was costly. By 1911, the British-American Tobacco Company adopted small offset presses, and color photolithography emerged in Shanghai in the 1920s. These innovations, along with the brush-wiping watercolor technique, drove the rapid growth and popularity of calendar posters.
Legacy and Cultural Impact
The rise of calendar posters nurtured a generation of professional artists, including Zhou Muqiao, Li Xiaozhang, Zhao Ousheng, Zheng Mantuo, Xie Zhiguang, Zhou Baisheng, Xu Yongqing, Hang Zhiying, He Yimei, Jin Meisheng, Jin Xuechen, Ge Xianglan, and Li Mubai, leaving a lasting legacy in Chinese art history. After the founding of the People’s Republic of China in 1949, the government’s focus on promoting policies led to the rise of new propaganda art, which replaced calendar posters.
Today, old calendar posters are recognized as an intangible cultural heritage of Shanghai. With growing societal awareness and support, efforts to preserve and promote this art form ensure its continued transmission and appreciation.
Cheung Chung Yau
Founder of China Poster Network
October 2013
A brief history of folk New Year paintings
New Year pictures are an excellent folk art of the Chinese nation. Its development is closely related to printmaking and engraving printing. It is a type of folk prints. In the early days, it was mainly hand-painted. After the Song Dynasty, it was mostly carved on wooden boards (called woodblock New Year pictures). (painting), printed on white paper or red or other colored paper. It is made to meet the needs of people to pray for worship, celebrate festivals and decorate the environment. The themes are mostly wishes, prayers, self-encouragement, education, etc.
The origin of New Year pictures can be traced back to the concept of nature worship and belief in gods in ancient times. From this, the folk custom of praying for worship developed. Along with the activities of praying for a good harvest, worshiping ancestors, and exorcising monsters during the New Year Festival, New Year pictures are posted on doors and windows. , replaced once a year. Gradually formed a special symbolic decorative art among Chinese folk. According to the ancient document "Tongdian", the origin of New Year pictures can be traced back to the primitive religion of the Shang and Zhou dynasties. It was formerly known as "paper painting", "paper piece" and "painting sheet", etc. In the Ming Dynasty, it was called "painting stickers", and during the Daoguang period of the Qing Dynasty, it was called "New Year paintings".
Han Dynasty
The production of New Year pictures has a long history long before the invention of printing. As early as the Han Dynasty more than 2,000 years ago, people had the custom of painting pictures directly on their doors every New Year's Eve to ward off evil spirits and avoid harm. The portraits of the two divine beings named "Shen Tu and Yu Lei" and the divine tiger are the predecessors of New Year paintings. According to "Customs and Customs" written by Ying Shao of the Eastern Han Dynasty: In ancient times, there were two gods, Tu Yulei and Kundi, who could watch over hundreds of ghosts. In the twelfth month of the year, the god Tu Yulei was actually painted and hung in front of the door to ward off evil spirits. Cai Yong's "Doctrine" records a New Year custom in the twelfth lunar month of the Han Dynasty. At that time, people did not understand the origin of the disease and believed that ghosts were causing trouble. Therefore, before the New Year, they would first clean the house and clean up the environmental garbage. Then they would draw the gods of tea and Yulei as door gods, and hang reed ropes to catch the evil ghosts. Go feed the tiger. In the Han Dynasty, this folk activity of paying attention to the door god on New Year's Eve, cleaning the house and tidying up the environment at the end of the year, is still preserved in rural areas today.
Southern and Northern Dynasties
During the Southern and Northern Dynasties, the custom of pasting chickens on the door appeared. It is recorded in "Jingchu Sui Sui Ji" written by Zongmao of the Liang Dynasty: "On the first day of the first lunar month, a chicken door was pasted, a reed rope was hung on it, and a peach charm was placed next to it. A hundred ghosts are afraid of it." It not only reflects that there were door paintings "painting chickens" during the Spring Festival at that time, but also "painting chicken doors", confirming that single paper or silk door paintings appeared in the Southern and Northern Dynasties.
Wang Jia of the Jin Dynasty told the reason for the chicken on the door in his "Records of Supplements": In ancient times, when Yao was in power, a country with Diaozhi donated a bird with double pupils, shaped like a chicken, and singing Like a phoenix, it can chase away ferocious beasts, tigers and wolves, and prevent evil spirits from harming them. This bird sometimes comes several times a year, sometimes it doesn't come for several years. When it doesn't come, people will carve its shape out of wood or bronze and place it between the doors. When the evil creatures see it, they will be frightened and lie down, and they will retreat in terror.
Tang Dynasty
The Kitchen Lord in the Tang Dynasty was also called the Kitchen King or the Kitchen Emperor. Most of the statues of the Kitchen Lord had a year's calendar printed on them, with inscriptions such as "The God of the Kitchen God", "The Master of the East Chef", "The Supervisory God of the Human World", and "The God of the Family". "Lord" and other words to indicate the status of the Kitchen God; the couplet "God speaks good things, and returns home to bring good luck" is pasted on both sides to protect the safety of the whole family. The Kitchen God is the god in Chinese mythology who is in charge of the kitchen and food. He also has the function of supervising people's good and evil and preventing fires. His statue has a male god and a male and female god sitting together, and is enshrined on the Kitchen God's throne at home. Another eternal theme in the Tang Dynasty - "Zhong Kui". The duties of Zhong Kui and the door gods are to prevent the entry of evil spirits, diseases and evil spirits, so as not to harm people, harm property and harm people's livelihood. I swear to eliminate all sneaky evil spirits in the world.
Wu Shepherding Sheep Picture" ", "Pictures of Four Concubines and Sixteen Sons". The Ming Dynasty was an era when folk popular reading materials such as novels, legends and operas and dramas flourished. Almost all the scripts and popular novels published were accompanied by illustrations, which had a great influence on the art of New Year pictures. After the emergence of printmaking art mainly based on pictures, such as "Pictures of Zongyi" and "Pictures of Zongyi", it can be said to have reached a golden age.
Qing Dynasty
New Year paintings reached their peak in the Qing Dynasty. The social situation of peace and prosperity during the Kangxi and Qianlong years laid a solid foundation for the prosperity of New Year paintings; the popularity of popular novels also provided rich creative materials for a large number of New Year painting workshops.
During the Kangxi period, in order to strengthen the ideological education and governance of the people, he formulated and promulgated six standards, made a list of church members, and posted them everywhere. These six "imperial edicts" are: 1. Be filial to your parents, 2. Respect your elders, and 3. , live in harmony with your neighbors, 4. teach your children and grandchildren, 5. live in peace, and 6. refrain from wrongdoing. It is in line with the national moral concept and is very popular. This is why the doctrinal content of New Year paintings in the early Qing Dynasty was highly praised. "Xiaoyi Yimenjing", "Zhaojun Hefantu", "Twenty-eight Nights in Kunyang", "Ban Chao Appreciating the Moon".
There are many "Farming and Weaving Pictures" in the Kangxi and Qianlong years, such as "The Farmer is Busy", "The Fisherman and the Woodcutter and the Farmer", and "The Grain and Harvest". In addition, the large number of beautiful doll New Year paintings such as "Longevity, Longevity and Kangning", "Calabash for Eternity", "Four Seasons of Peace", "Durians Blooming with Hundreds of Sons", "Golden Men and Beautiful Women Full of Joy", constitute the theme characteristics of the New Year paintings during this period, and also reflect the people's aversion to war. , a reflection of the hope that "the country will be peaceful and the people are safe" and they will no longer be displaced.
Qianlong inherited the rule of Kangxi and Yongzheng and brought peace and prosperity, social stability and economic development. From the "Picture of Prosperity in Prosperity" (also known as "Picture of Prosperity in Gusu") drawn by Xu Yang and "Records of Yangzhou Painted Boats" written by Li Dou, which were enshrined in the inner court , you can see the developed industry and commerce and prosperous folk arts and crafts in Suzhou, Yangzhou and Nanjing at that time. It was under such historical conditions that the art of folk New Year paintings reached an unprecedented golden age. During the Qianlong period of the Qing Dynasty, the level of painting and engraving skills, the quality of printing, the breadth of the layout, etc. were beyond the reach of later printers. This can be confirmed by the Yangliuqing New Year paintings in Tianjin and Taohuawu New Year paintings in Suzhou that are still left at home and abroad.
In terms of expression, due to the influence of the Western painting styles of Matteo Ricci and Castiglione, Western light and dark perspective techniques have been applied in the creation of New Year paintings. Some works are even engraved with the words "imitation of Thai and Western brushwork" on the picture. , New Year pictures also became a window for the spread of western style to the east in the Qing Dynasty.
New Year paintings from the late Qing Dynasty, during the sixty years from Xianfeng to Xuantong (1851-1911), since the Opium War, internal and external troubles, foreign aggressive forces intensified their expansion into China, and domestic anti-Qing uprisings also continued one after another, exacerbating the collapse of the Qing Dynasty's feudal rule.
In this complicated era, the dramatic social changes are most timely reflected in the art field through New Year paintings, which have undergone new changes in their subject matter, content and composition. The works presenting bizarre situations are diverse and complex. Some ridiculed the corruption of the Qing Dynasty and the inferior and incompetent bureaucratic culture; others praised "supporting the Qing Dynasty and destroying foreign countries" and praised the Qing Dynasty officials and generals who resisted aggression. Some depict people rioting and robbing pawnshops; others encourage people to keep to themselves and work hard to get rich. Some themes depict the ...........
China Through European Eyes: Western Art and Culture in China
China's formal interaction with France began during the late Ming and early Qing dynasties in the 17th century. Following the ascension of King Louis XIV (1643–1715), France actively expanded its overseas influence, sending missionary delegations to the Far East for political and economic purposes. The first French delegation arrived in Beijing in 1688, comprising mostly Jesuit missionaries who were highly skilled mathematicians and scientists of their time.
These missionaries, equipped with extensive knowledge, gained favor with the Qing court, especially during the reigns of Emperor Kangxi (1662–1722) and Emperor Qianlong (1736–1795). Italian priest Matteo Ripa (1682–1743) introduced European copperplate engravings to Emperor Kangxi in the latter part of his reign, sparking great interest. Consequently, the emperor commissioned works such as the Thirty-Six Views of the Imperial Summer Palace and The Complete Atlas of the Empire. Under Qianlong, missionaries created large-scale historical copperplate engravings documenting the Qing dynasty's political and military achievements.
China Through the Eyes of Europeans: Western Art and Culture in China
During the late Ming and early Qing periods (around the 17th century), China began formal diplomatic interactions with France. After Louis XIV of France (1643–1715) ascended the throne, he actively sought to expand French influence overseas by sending missionary groups to the Far East for political and economic purposes. The first French delegation arrived in Beijing in 1688, consisting mostly of Jesuit priests who were leading mathematicians and scientists of their time.
Upon their arrival in China, these missionaries gained significant favor at the Qing court due to their extensive knowledge. They were particularly valued during the reigns of emperors Kangxi (1662–1722) and Qianlong (1736–1795).
In his later years, Emperor Kangxi was introduced to European copperplate engravings by Matteo Ripa (1682–1743), an Italian Jesuit priest in China. Kangxi took great interest in these works and commissioned Ripa to create copperplate engravings of the "Thirty-Six Views of the Imperial Summer Mountain Resort" and the "Complete Atlas of the Empire." His grandson, Emperor Qianlong, went further by instructing court missionaries to produce large-scale copperplate series documenting Qing political and military achievements.
These missionaries, skilled not only in theology but also in natural sciences, introduced Western knowledge of astronomy, geography, calendars, science, technology, and art to China. Some were also accomplished artists, becoming foreign painters serving the imperial court. Notable figures included Giuseppe Castiglione (known as Lang Shining), Jean-Denis Attiret (Wang Zhicheng), Ignatius Sichelbart (Ai Qimeng), Joannes Damascenus, Louis de Poerct (He Qingtai), Joseph Pangi (Pan Tingzhang), and Matteo Ripa. Among them, Castiglione, Attiret, and Sichelbart had the most significant impact.
Three famous foreign painters
Castiglione (1688-1766 AD) was an Italian whose original name was Giuseppe Castiglione. Born in San Marcellino, Milan. In his youth, he studied painting and architecture with Carlo Conara. In 1707, at the age of nineteen, he joined the Jesuits of Genoa and began his career as an assistant. At first he only painted murals for churches in Italy. In 1714, he lived in Lisbon and Coimbra, Portugal. A few years later, he developed considerable interest in China and went to China in 1715. During this period, he studied Chinese in Macau and adopted "Lang Shining" as his Chinese name. In the 54th year of Emperor Kangxi of the Qing Dynasty (1715), he came to China as a Catholic Jesuit monk to preach. He was introduced to Emperor Kangxi by Ma Guoxian and entered the court to serve, and was awarded the third rank.
In the first year of Yongzheng (1723), he immediately entered the palace and became a court painter. In 1729, he helped Nian Xiyao publish a book introducing Western perspective - "Science", which was China's first monograph on perspective. He once participated in the design work of the Western-style Building in Yuanmingyuan. In the 22nd year of Qianlong (1757), Qianlong held a 70th birthday ceremony for Lang Shining, which proved that he was well received and favored in the palace. Lang Shining died of illness in Beijing on October 10, the 31st year of Qianlong's reign (1766), and served successively in the Kang, Yong and Qian dynasties.
Kangxi period: He came to Beijing in 1714, the fifty-fourth year of Kangxi, and was called into the palace as an artist by Kangxi. He worked for Emperor Kangxi for only seven years. He painted oil paintings and learned Chinese brush and ink. At the same time, he taught oil painting techniques and trained apprentices. His apprentices include Zhang Weibang, Lin Chaokai and other fourteen people.
Yongzheng period: Lang Shining used Chinese pen colors to draw three-dimensional objects on silk. At this time, after seven years of exploration, Lang Shining had mastered a new painting method that was acceptable to the Qing emperor, integrating Chinese and Western methods. This was based on Western methods and using Chinese methods. French new body painting by Castiglione. This style of Lang style lasted throughout the Yongzheng Dynasty.
During the Qianlong period: Chinese and Western painters collaborated on large-scale paintings. The composition and "imperial appearance" were all undertaken by Western painters. A fusion of Chinese and Western paintings. Using focal perspective and setting up a second main point is similar to traditional Chinese scatter perspective. The "Royal Face" portrait is based on Lang Shining's portrait painting method based on Western techniques with reference to Chinese and French methods. Some scenes use less obvious light and shade methods, while other figures, landscapes, trees and rocks use traditional Chinese painting methods.
Wang Zhicheng (1702–1768), also known as Badeni or Wang Zhichen, born Denis Attiret, was a French artist from Moirans, France. In 1738, he came to China and joined the French Jesuit missionary group in Beijing, becoming a court painter during the Qianlong and Jiaqing reigns. Wang excelled in painting figures, portraits, and animals. His "Album of Ten Fine Horses" (housed in the Palace Museum, Beijing) portrays ten of Emperor Qianlong’s prized steeds. Employing Western painting techniques, the work is characterized by meticulous brushwork, accurate forms, and diverse postures, with the horses' coats rendered with remarkable texture. Meanwhile, the trees and rocks in the background adopt traditional Chinese brush techniques, harmonizing perfectly with the horses.
Very few of Wang’s artworks have survived. The "Shiqu Baoji" (Imperial Catalogue of Paintings and Calligraphy) records only the "Album of Ten Fine Horses," which remains the sole tangible example of his artistic style and achievements. When compared with Lang Shining's (Giuseppe Castiglione) famous "Eight Horses" and "Ten Fine Horses", Wang’s work demonstrates an artistic level that is "indeed no less accomplished than Lang Shining."
Ai Qimeng (1708–1780), courtesy name Xing’an, born Ignace Sickelpart, was originally from Bohemia (modern-day Czech Republic). He joined the Jesuits in Europe as a young man and arrived in China in 1745 (the 10th year of Emperor Qianlong's reign), adopting the Chinese name Ai Qimeng. That same year, he began serving in the Qing court. In 1765 (Qianlong's 30th year), Ai Qimeng, along with Lang Shining, Wang Zhicheng, and Andre Godefroy, was commissioned to create a series of paintings depicting the suppression of the rebellions led by the Zunghar leader Dawachi and the Uyghur Khoja brothers. Ai Qimeng contributed a draft of "The Surrender of Ili", one of the 16 paintings in the series titled "The Qianlong Campaign in the Western Regions". These drafts were sent to France, where they were turned into finely engraved copperplate prints by the French Royal Academy of Arts.
The "Shiqu Baoji" lists nine of Ai Qimeng’s works, including his "Eight Horses" and "Ten Hunting Dogs", which showcase Emperor Qianlong’s prized thoroughbreds and purebred hunting dogs. These works provide valuable insights into the unity of China during the Qianlong era and the blending of Chinese and Western cultures. According to "The Draft History of Qing", Ai Qimeng’s artistic skills were considered "second only to Lang Shining."
In 1777 (Qianlong's 42nd year), Emperor Qianlong hosted a grand banquet in honor of the septuagenarian Ai Qimeng, bestowing him with lavish gifts and a plaque inscribed with the imperial title "Aged and Esteemed Across the Seas". After the banquet, Ai Qimeng toured the capital in an eight-carrier sedan chair, accompanied by numerous officials and musicians, a spectacle widely celebrated. He passed away in Beijing three years later at the age of 73.
In 1736, Qianlong ascended the throne during the Qing dynasty's peak of power. The Qing court suppressed the rebellions of Dawachi of the Zunghar faction in Xinjiang and the two Khoja brothers, Burhan-ud-din and Khwaja Jihan, ensuring peace along the northwestern border. To commemorate these victories and showcase his "Ten Perfect Military Achievements," Qianlong decided to create a series of copperplate engravings for posterity.
One engraving, titled Pacifying Ili and Accepting Surrender, documents the historical event of pacifying Dawachi's rebellion in 1755. The artwork depicts Qing forces arriving in Ili, greeted by the Zunghar people in submission. Scenes show people leading sheep and carrying wine to greet the troops, while others with their families bow beside the road. The powerful Qing cavalry, equipped with bows and arrows, enters a clearing from a valley amidst jubilant music and celebrations. In the ..................
Chinese Poster Network
Chinese Poster Network (chineseposter.com) showcases a collection of modern Chinese propaganda posters, alongside lithographs, prints, copperplate prints, maps, and international news illustrations from the late Qing Dynasty to the present. Through visual art forms, these historical publications present a comprehensive view of China's 200 years of modern history. This website aims to curate and publish a collection of over 5,000 pieces, covering Chinese historical imagery from 1840 to today, offering valuable insights into China’s modern development and struggles.
These posters, referred to in China as propaganda art, were created by outstanding contemporary Chinese artists and designers. With exceptional techniques, they produced captivating posters that vividly reflect the social conditions of the time. These works serve as a visual chronicle of modern Chinese history, art history, and the history of printing. For those interested in modern Chinese history, both domestically and internationally, they provide an engaging entry point. For young students, this resource transforms history into something less dull and more accessible, helping them understand China’s journey of development and struggle, while fostering feelings of connection to the nation and its people. Recognizing the hardships of the past inspires appreciation for today’s prosperity, ensuring a stable and bright future for the country.
I am deeply passionate about art and, influenced by childhood education, hold a profound affection for the nation and its culture. As an enthusiast of Chinese posters and painting arts, I began collecting Chinese propaganda posters in 1988. My collection includes 4,000 posters from the People’s Republic of China (1949 to the present) and 1,000 posters and publications from the late Qing Dynasty to the Republic of China period (1780–1949). My goal is to gradually organize, research, translate, photograph, and digitize around 5,000 items from this collection. Using chronological and thematic classification, I will publish these materials on this website, providing free access to the public. I hope this effort will contribute to the dissemination and exchange of Chinese art, history, and culture.
Art elevates emotions, cultivates aesthetic appreciation, refines character, and beautifies life. Art appreciation brings joy and emotional balance, enriches learning, and uplifts the soul, creating a vibrant, colorful life. It helps foster an attitude of truth, goodness, and beauty.
History is humanity’s best teacher, offering insights for future development. It serves as a record of past experiences and a guide for understanding the present and shaping the future. Respecting history earns respect from history. Exploring history allows us to see our roots, recognize our identity, and clarify our direction. Understanding history helps us stay true to our original aspirations.
Many contemporary issues are reflections of historical events. Without studying and reflecting on history, it becomes challenging to solve present-day problems and chart a path forward. Forgetting the past and severing ties with history cuts off cultural continuity, akin to severing a lifeline. The deeper our understanding of history, the further we can envision the future. History is the best textbook—a record of a nation's rise and fall, filled with the wisdom and knowledge of generations. How we view history determines how we approach the present and the future. Each generation must inherit the assets of history, draw spiritual nourishment from the outstanding traditions of Chinese culture, use historical wisdom to address current risks and challenges, and illuminate the road ahead, advancing on the shoulders of our predecessors.
Mission: Appreciate art, study history, promote culture, and love our China!
Founder of the Chinese Poster Network
Zhang Zhongyou
October 2013