Cross-Cultural Art from the Perspective of Aesthetic Education: Cultural Exchange in Chinese Export Paintings (18th - 19th Century)

Abstract

During the late Ming to early Qing dynasties, the great demand for Chinese export porcelain laid the foundation for the development of export paintings. From the 18th to the 19th century, a unique form of cultural hybridity emerged in the coastal area of Canton: export paintings. This paper attempts to explore the interaction, conflict, and fusion with foreign cultures within the frameworks of Homi Bhabha's "third space" theory and Mary Louise Pratt's concept of the "contact zone." It examines how this cross-cultural art form manifests hybridity in materials, painting techniques, and themes.From the perspective of aesthetic education, these paintings provide profound insights into the cultivation of aesthetic sensibilities and cross-cultural appreciation. Predominantly produced by Chinese painters and workshops, with a few contributions from visiting European painters, these artworks cover a broad range of subjects, including Chinese social life, flora and fauna, and folk customs. By examining the aesthetic value and educational potential of these works through the lens of aesthetic education, we can better understand their significance in cross-cultural art exchange. This cross-cultural art form not only holds aesthetic importance but also provides a new perspective for studying Sino-Western cultural interactions, enriching the discourse on art education and cultural exchange.