A Brief Discussion on the Production System of Export Oil Paintings from Guangzhou’s Thirteen Hongs in the 19th Century

Abstract

The emergence and growth of the Guangzhou export oil painting industry in the 19th century marked a significant milestone in the commercialization of modern Chinese art. Under the Qing Dynasty’s “single-port trade policy,” Guangzhou’s Thirteen Hongs became the sole hub for Sino-Western trade, creating unique conditions for the development of export oil paintings. The industry reached its peak between the 1830s and 1860s, characterized primarily by three interconnected dimensions. First was the transmission of oil painting techniques. Local painters acquired Western painting skills through studying abroad, apprenticing with Western artists, or imitating works in painting studios. Second, in terms of thematic creation, artists focused mainly on three categories: portraits blending Chinese and Western elements (including Chinese officials, hong merchants, and Western traders), harbor and ship paintings that captured maritime commemoration and distinctive port scenes, and genre paintings depicting everyday life in China. These subjects not only appealed to Western aesthetic preferences but also preserved features of traditional Chinese art. Lastly, regarding the business model, the Linqua Studio exemplified the “shop front and workshop back” layout, employing assembly-line production with clearly marked pricing based on size, subject, and level of detail, thereby reflecting a specialized and competitive art market. Collectively, these three aspects established the production system for export oil paintings, representing the inception of commercialized modern art in China.