개항장을 방문한 서양화가들 :마카오(澳門), 광주(廣州), 홍콩(香港)을 중심으로

The three Pearl River(珠江) delta cities represented three distinct phases of Western commercial contact with China from the 17th to 19th century. Portuguese Macau, the oldest Western settlement, retained a charming atmosphere dominated by Portuguese forts and churches. Canton, already a giant city before the Westerners arrived, placed the new foreigners in a segregated quarter but actively mingled native Chinese and foreign cultures in the interest of profit. Hong Kong, the most Western dominated, became a prize British colonial possession, where Chinese flocked to take advantage of the opportunities offered by contact with a wider world. The new vistas of the trading ports attracted many foreign artists. John Webber (1750-1793) accompanied Captain Cook on his third voyage visited Macau in 1779, publishing his book Views in the South Seas in 1780. Thomas Daniell (1749-1840) and his nephew William Daniell (1769-1837) these English artists visited Canton in 1793 and painted the dramatic scenery 〈A View of the European Factories at Canton〉 into oil(Fig.2). The foreign factories that line the Canton waterfront are easily recognized by their nations’ flags. William Alexander (1767-1816) traveled as a draftsman with George Macartney’s embassy and established the dominant image of China in England. In his 〈The Forts of Anunghoy Saluting the Lion in the Bocca Tigris〉 of 1796, the Chinese forts exchanged an honorary salute with the English vessel The Lion, carrying ambassador Lord Macartney(Fig.4). English portrait artist George Chinnery (1774-1852) who spent 27 years in Macau, sought out more authentic scenes. 〈Dr. Thomas Colledge with Patients〉 by Chinnery shows the doctor Thomas Colledge after he has completed an operation on a Chinese woman(Fig.8). The woman’s son kneels in front, presenting a letter of thanks. His style greatly influenced the Chinese artists who depicted the Canton trade system for the foreign export market. After Opium War western artists likewise focused on the new Western buildings, ships clustered in Hongkong. Unlike Canton, Hong Kong was a colonial possession completely under the domination of a foreign power, and many foreigners viewed the native Chinese population with fear and contempt. 〈View of Hong Kong Harbor〉 done by Marciano Antonio Baptista between 1860 and 1870 shown Western architecture and foreign ships dominate the scene and there is no evidence of a Chinese presence(Fig.14). After the Opium War foreigners gained access to the interior. Images of China focused more widely on the entire empire, not just the limited foreign sector. Thomas Allom’s illustrations helped to provide a clearer picture of Imperial China for the wastern travellers(Fig.15). Although the images presented by the western artist were too idealistic, the european could gain some knowledge about the customs, dress, landscape and architecture of China from their works in 19th century.

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