The essay "Late Ming and Qing Period painting" analyzes the painting of the late Ming and Ging period. In the analysis and comparison of late Ming and Qing painting traditions, it is important to understand that both traditions were influenced by preceding cultural, socioeconomic and political events. The late Ming period embraced many artistic traditions and branches that originated in the early Ming period, namely scholar painters at the Hongwu court (1368-1398), the the professionals at the Xuande (1426-1436), and Chenghua courts (1436-1465) (Lin, 1967). However, from the critical perspective, Wumen School has been the most influential artistic school for the formation of late Ming period distinctive painting style. Although this school emerged in the middle Ming period, it has had profound long-lasting effect on Chinese painting tradition that extended not only to late Ming period, but had significant manifestation in Qing painting period (Lin, 1967). Historically, despite great variety in numbers and geographic locations, the artistic schools of late Ming can be limited to a few most distinctive ones, namely Xu Wei School, Don Qichang School, Huating School, Zhao Zuo, Susong School, and Chen chun School. Walter Benjamin has argued that the Art for Art’s Sake movement in the later half of the nineteenth century was a reaction to the commercialization of culture and the possible threats it posed to the elite’s exclusive claim to art. The commercialisation and popularisation of art apparently.
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