The export paintings of Guangzhou in the Qing Dynasty, as a new type of export commodity with Western colors, have attracted the attention of domestic researchers since the 1990s and become a collection hotspot. These works have undergone two hundred years of transformation from handmade crafts to export-oriented artworks, and their value has been enhanced in Europe, America, and China, reflecting the uniqueness of Guangzhou's maritime culture. This article will explore a new understanding of Guangzhou's export painters and their creations during the Qing Dynasty from a global historical perspective.

The Global Expansion of China's Coastal Painting Market during the Ming and Qing Dynasties

During the Ming and Qing dynasties, the painting market along the southeast coast of China expanded globally, and commercial paintings were sold overseas. In the mid Ming Dynasty, the painting market became commercialized and standardized commercial paintings emerged. The painting markets in port cities such as Ningbo, Xiamen, and Guangzhou are thriving, with professional painters and workshops accepting customized orders and producing a large number of paintings for export. The global trade situation has formed, and Chinese paintings have begun to enter the European market. In the 1820s and 1830s, Guangzhou became a destination for Western ship trade, and export paintings gradually took on a "Western" appearance, forming diverse themes and exquisite techniques of export paintings.

The formation of diversified international communities and the emergence of new industries in the Thirteen Factories commercial district of Guangzhou during the Qing Dynasty

After the Qing Dynasty pacified the coastal areas during the Kangxi reign, foreign trade activities along the coast resumed, and the Four Seas Pass was established, with foreign merchant ships arriving one after another. At the beginning of the 18th century, Guangzhou became the preferred destination for foreign merchants due to its superior trade conditions. After the 22nd year of the Qianlong reign, which restricted trade to Guangzhou, more Westerners came to Guangzhou. The Qing Dynasty became increasingly strict in foreign trade management, forming four management links: Guangdong Customs, Thirteen Factories, Huangpu, and Macau, restricting foreign activities, and the Thirteen Factories block became the main living space for foreign merchants. The houses in the Thirteen Rows neighborhood were originally Chinese style buildings, gradually adopting a Western style, and merchants from various countries hung national flags. During the reign of Emperor Qianlong, the exoticism of the Thirteen Line Street began to appear, attracting the attention of countrymen. The westernization of the commercial district is a manifestation of foreign businesses' stable interests in China and a manifestation of Guangzhou's prosperous trade. In the 1840s, the Thirteen Rows neighborhood was mainly composed of foreign trading firms, foreign commercial centers, and two streets, forming a specialized market. In 1760, the Public Bank was established, and the Qing Dynasty imposed stricter supervision on non local merchants. Non local merchants relocated to the new street "Jingyuan Street". In 1786, British merchant John Pope recorded that the European trading house was built very beautifully, and Western style buildings were formed in the trading house area. In the tenth year of the Daoguang reign, a fire broke out in the Thirteen Rows district. After reconstruction, the commercial district expanded and became a block exclusively occupied by Westerners. The Thirteen Factories commercial district has become the home of Westerners in Guangzhou, providing services such as trade, entertainment, and storage of goods. Communications and compradors provide services to foreign businesses, forming a global network for personnel, capital, and technology exchange. The Qing government, while insisting on maintaining its rule, opened up Guangzhou to trade with various European and Western countries, gaining substantial profits from the "Southern Treasury of the Emperor" and controlling the global trade that occurred in Guangzhou. As an international community of foreigners with strict management, the 13 trade museum area is more professional in management and service. In the Chinese neighborhoods of Guangzhou, there has emerged a professional group of export painters who serve the Western market. They learn to paint in Western style, and their paintings demonstrate commercialization and the integration of Chinese and Western cultures, deeply reflecting the unique features of civilization contact and cultural integration in the process of globalization.

The Development of Guangzhou's Trade and Export Painting in the Qing Dynasty during the Three Globalization Era

Explored the development relationship between Guangzhou's trade and export paintings in the Qing Dynasty. Although Guangzhou export painters have a low social status, they have created paintings with rich themes and integrated Western painting techniques to create works for Western customers. Export paintings have dual characteristics of art and commodity, with early works featuring Chinese painting style and gradually integrating Chinese and Western elements. Since the 1840s, the characteristics of export painting creation have been obvious. In the 1970s, it matured and was exported on a large scale, reflecting the influence and integration of Western culture. Speyron and other painters set up shop to create portraits and ship paintings, which aroused new understanding of the functions of portraits among Chinese people. The landscape paintings of the Thirteen Factories are popular and have become souvenirs for Westerners returning home. Guangzhou exports a large amount of glass paintings and wallpapers, with superb skills and colorful designs. The complete export of street customs maps and animal and plant catalogs is popular among Westerners. The Leiden World Museum in the Netherlands houses nearly 3000 picture books ordered by lawyer Luo from The Hague, reflecting the development of Western science and cultural pursuits. The British East India Company also began collecting museum paintings. At the beginning of the 19th century, British painter Henry came to China. Guangzhou's export painters adjusted their painting techniques and imitated Henry's style, resulting in a diverse range of export paintings. Although Guangzhou's export painting did not form an independent art school, it gained Western painting knowledge through various channels, from copying to creation, crossing the cultural systems of China and the West, and generating new cultural meanings, becoming a shared visual element between China and the West. The Thirteen Factories Commercial District in Guangzhou plays an important role in cultural exchange between China and the West. Export painters demonstrate initiative and creativity, overcome difficulties, and complete the artistic creation process from copying to creation.

Four concluding remarks

Emphasis was placed on the role of trade in shaping global communities, lifestyles, and trade systems, particularly the importance of port cities such as Guangzhou in cross-cultural exchanges. The history of Guangzhou's export paintings in the Qing Dynasty reveals the cultural form of Guangzhou and the ways in which port communities participated in global development. Although export painters are not the mainstream of society, their interaction with the outside world, through mastering Western painting techniques and language, has brought changes to the material and spiritual culture of Chinese society, introduced new technologies, and created a new world. Guangzhou is not only a trading port, but also a place for cultural exchange between China and the West, showcasing the innovative spirit of Guangzhou craftsmen and the characteristics of port culture.