“大航海时代”加速了以海上丝绸之路为纽带的中西方贸易往来与文化交流。1557年，葡萄牙人借助臻于成熟的远洋航海技术，流寓澳门并与明朝通商往来，这也标志着早期“西画东渐”的开始。澳门作为西方绘画进入中国的第一站，因其地缘、历史成为中西方绘画艺术互相影响的重要通道。1580年，随商船而来的意大利耶稣会教士罗明坚（Michele Ruggieri）带来了有记录以来最早的西方圣像画。此后，利玛窦（Matteo Ricci）于1601年抵达北京，携带了3件圣像画献给明神宗；由其门徒、澳门人游文辉绘制的《利玛窦像》也是迄今为止人们所知的第一幅由中国人绘制的油画作品。18—19世纪是“西画东渐”的第二次高潮。19世纪以旅居澳门的乔治·钱纳利（George Chinnery）为代表的西方画家，以及以广州林呱为代表的中国画家留下了一批反映19世纪人物、风俗、风景等题材的绘画作品，学界通常称为“洋风画”。这些作品真实、生动地记录了澳门、广州、香港地区的风土人情和城市景观，既是一份历史的记录，也是一份早期西画在中国传播的宝贵遗产。同时，随着海上贸易的发展、科学技术的进步，地图绘制技术日趋完善。东西方的地图反映了澳门与广东珠江沿岸的变迁，以及对于世界的态度与观看海洋的不同视角。在此期间，东西方视觉文化互相影响、互相借鉴的基础上产生了视觉语言的调适，以此形成了全球化背景下发生在中国的新艺术。之前在欧洲流行的“中国风”也与中国“洋风画”共同构成了中西绘画的浩瀚交融，在传统绘画衰落的背景下，“洋风画”构成18-19世纪中国艺术史的重要组成部分。在当今全球化语境下，对于这段文化艺术交流史的再审视，无疑有着重要而深刻的意义。

展览内容共分两部分：第一部分，精选79幅澳门科技大学图书馆馆藏的中西古地图，以此说明地理认知与视觉文化之间、艺术与科学之间的复杂关系。古代地图作为大航海时代认知世界和文化交流的重要工具，从中体现出对文明探究的多重维度，并且地图绘制语言的革新也深刻反映了中西之间视觉文化的调适。同时，古地图也是研究澳门乃至中国在中西方文化交流及早期全球化方面的重要资料。第二部分，精选123幅银川当代美术馆收藏的清代至民国初期澳门及广东地区的洋风画，题材主要涉及广州、香港、澳门地区的市井生活、港埠风景、商旅贸易、肖像画等，真实地展示从宫廷到民间的中西方艺术互相借鉴和发展的历史情形，生动地复原了一段消失的“西画东渐”史。为今天的研究者提供了丰富的历史图像，使我们能从不同的学科角度去研究和解读这段丰富的中国早期油画史、绘画史与文化史。

将古地图及中国早期油画一起展示，不仅有利于探究文化的传播以及图像的意义，同时也有利于解读地缘文化与文化交流之间的关系。这不仅仅是一份历史的记录，也是一份宝贵的艺术遗产，生动地勾划出中国近代美术史的发展演进轨迹，体现出一种整体的中华民族精神，这是一笔巨大的文化财富。

项目负责人/策展人 汪蓝

The Age of Sail accelerated cultural and trade relations between China and the West along the Maritime Silk Road. In 1557, the Portuguese used their sophisticated nautical technology to settle in Macao and start trade with the Ming Dynasty, leading to the introduction of Western art to the East. Macao was the first stop for Western paintings arriving in China, its particular geographical history making it an important gateway through which Chinese and Western paintings influenced one another. In 1580, Michele Ruggieri, an Italian Jesuit priest who arrived in Macao with the merchant ships, brought with him Western iconography, marking the first recorded instance of such artworks arriving on Chinese shores. Later, in 1601, Matteo Ricci arrived in Beijing and presented the Wanli Emperor with three icons, including a portrait of Matteo Ricci painted by Macao native Manuel Pereira , which is thought to be the first oil painting produced by a Chinese artist. The eighteenth and nineteenth centuries were the second high point for artistic exchange between East and West. In the nineteenth century, Western painters in Macao and Chinese painters in Guangzhou, of whom the most representative figures were George Chinnery and Lam Qua, respectively, produced a series of paintings depicting the people, customs and scenery of the era, artworks that were later referred to as yangfenghua, European-styled paintings. These artworks provided vivid and accurate records of the culture and city life in Macao, Guangzhou and Hong Kong, at once a series of historical documents and also an invaluable part of our artistic heritage. At the same time, with the development of maritime trade and the advancement of science and technology, cartographic techniques improved. Eastern and Western maps drawn of the area reveal the changes that took place in Macao and areas along the Pearl River coast in Guangdong, as well as varying global attitudes and maritime perspectives. During this period, the aesthetic cultures of China and the West blended and interacted with one another, developing their visual language in the light of their mutual influence to produce a new kind of art that reflected this era of globalisation. The “Chinoiserie style” that had been popular in Europe before also formed a vast blend of Chinese and Western paintings together with the “European-styled paintings” in China. In the context of the decline of traditional painting, the “European-styled paintings” constituted an important part of the Chinese art history in the 18th and 19th centuries. In today’s global context, the re-examination of this history of cultural and artistic exchange is undoubtedly of great and profound significance.

The exhibition is divided into two parts. The first part of the exhibition consists of 79 ancient maps from China and the West from the Macao University of Science and Technology Library collection, which demonstrate the complex relation between cognitive and visual culture, as well as art and the sciences.  The innovations that took place in the language of cartography also reflect how Chinese and Western visual cultures adapted as they interacted with one another. Furthermore, ancient maps are also an important source of information for the study of Macao and China in the context of Sino-Western exchange and early globalisation. The second part consists of more than one hundred European-styled paintings produced in Macao and Guangdong from the seventeenth to the nineteenth centuries, which were selected from the rich collections at the Museum of Contemporary Art Yinchuan. These portraits and paintings depict city life, port scenery and commercial activities taking place in the areas around Guangzhou, Hong Kong and Macao. They serve as a vivid resurrection of a historical period of cultural exchange between East and West that was at risk of falling into obscurity, which provides researchers today with a wealth of historical images from which to study and interpret the history of early Chinese oil painting, Chinese painting more generally, and Chinese civilisation from a variety of disciplinary perspectives.

Exhibiting early Chinese oil paintings alongside ancient maps not only provides insight into the dissemination of culture and the significance of images, but also illuminates how local cultures are affected by cultural exchange. As well as being a historical record, it also forms an invaluable part of China’s artistic heritage, manifesting the inclusive and magnanimous spirit of the Chinese people and nation. Such works are a great cultural treasure.

Wang Lan

亚洲地图 Atlas Universel Illustre Asia

维克多•莱维塞尔 Victor Levasseur

1856年

52.4×35.2cm

银川当代美术馆藏 Collection of Museum of Contemporary Art Yinchuan

《澳门港城图》Map of Macao City and Port

弗朗索瓦·费罗杰 François Froger

1699年

26X35cm

法国国家图书馆藏 Collection of French National Library

澳门城葡萄牙制平面图 Portuguese Plan of the City of Macao and Its Surroundings

拉菲特 Lafitte de Brassier, Louis François Grégoire

1781年

75X102cm

法国国家图书馆藏 Collection of French National Library

珠江周边地区地图 Plan and Special Map of the Pearl River and Its Surroundings

拉格朗日 Louis de La Grange-Chancel

1698年

63X91cm

法国国家图书馆藏 Collection of French National Library

广东省海岸线地图 Handwritten Map of the Coastline of the Province of Canton

亚历克西斯-休伯特·贾约特 Alexis Hubert Jaillot

约1700年

57X85cm

法国国家图书馆藏 Collection of French National Library

乾隆皇帝半身冬装像 Portrait of Emperor Qianlong in Winter Suit

郎世宁 Giuseppe Castiglione

1756-1757年 Circa 1756-1757

高丽纸本油彩 Oil on Paper

62.6x51cm

银川当代美术馆藏 Collection of Museum of Contemporary Art Yinchuan

自画像  Self-portrait

乔治·钱纳利 George Chinnery

1802-1825年  1802-1825

布本油彩 Oil on Canvas

24.6x19.1 cm

银川当代美术馆藏 Collection of Museum of Contemporary Art Yinchuan

乔治•托马斯•斯当东肖像 Portrait of George Thomas Staunton as a Boy

托马斯•基克尼 Thomas Hickey (1741-1824)

1790年代  1790s

布本油画 Oil on Canvas

167.7x114.2cm

银川当代美术馆藏 Collection of Museum of Contemporary Art Yinchuan

中国少妇像 Portrait of a Chinese Lady

（传）史贝霖 Spoilum (attribute to)

1770-1805年    1770-1805

玻璃油彩背画 Reversed Oil Painting on Mirror, With Original Gold Decorated Wood Frame

47.7X34.7cm

银川当代美术馆藏 Collection of Museum of Contemporary Art Yinchuan

十三行总商伍秉鉴的肖像 Portrait of the Hong Merchant Howqua

林呱 Lamqua

1830年代1830s

布本油画  Oil on Canvas

64x48.9cm

银川当代美术馆藏 Collection of Museum of Contemporary Art Yinchuan

牧羊女 Shepherdess

史贝霖 Spoilum

1770-1790年1 770-1790

油彩玻璃 Oil on Glass

71.9x63.4 cm

银川当代美术馆藏 Collection of Museum of Contemporary Art Yinchuan

家中一景 Domestic Scene

佚名 Anonymous

19世纪中期 Mid-19th Century

布本油彩 Oil on Canvas With The Original Frame

50.7x63.5 cm

银川当代美术馆藏 Collection of Museum of Contemporary Art Yinchuan"

耍纸牌 Play Porkers

佚名 Anonymous

1820-1830年1820-1830

布本油彩 Oil on Canvas

50.9x63.9 cm

银川当代美术馆藏 Collection of Museum of Contemporary Art Yinchuan

花园春色 Chinese Garden

顺呱 Sunqua

19世纪中期 Mid-19th Century

布本油彩  Oil on Canvas With The Original Frame

45.6x59.4 cm

银川当代美术馆藏 Collection of Museum of Contemporary Art Yinchuan

河南伍园 The Garden of Howqua

佚名 Anonymous

1860年1860

布本油彩 Oil on Canvas With The Original Frame

75x112.6 cm

银川当代美术馆藏 Collection of Museum of Contemporary Art Yinchuan

浴火重生的广州十三行风光 The Hongs after the Fire

（传）顺呱 Sunqua(attribute to)

约1855年 Circa 1855

布本油彩 Oil on Canvas With The Original Frame

45.7X59.7cm

银川当代美术馆藏 Collection of Museum of Contemporary Art Yinchuan

南湾 Nam Van, Macao

（传）乔治·钱纳利 George Chinnery (attribute to)

1825-1852年  1825-1852

布本油彩 Oil on Canvas

33.9x59.6 cm

银川当代美术馆藏 Collection of Museum of Contemporary Art Yinchuan

克莱德号帆船Clyde

丽方 Lai Fong

1900年

布本油画胶合木质框架 Oil on Canvas With Gum Wood Frame

25.8x40.5 cm

银川当代美术馆藏 Collection of Museum of Contemporary Art Yinchuan

晨光中的帆船 Chinese Junk

永祥 Yongxiang

19世纪中期 Mid-19th Century

布面油彩 Oil on Canvas

29.5x38.3 cm

银川当代美术馆藏 Collection of Museum of Contemporary Art Yinchuan