| dc.description.abstract | Huang Yue (1750-1841), a Chinese artist of the Qing Dynasty, had a distinguished career in bureaucracy spanning the reigns of three emperors: Qian, Jia, and Dao. He held the positions of minister and Grand Councilor and made significant contributions as a proofreader for the specialized book “Shiqu Baoji Sanbian.” This work meticulously documented calligraphy and paintings from diverse dynasties within the Qing imperial collection. Posthumously, Huang was honored as the ＂Grand Tutor for the Crowned-Prince＂ and listed among the virtuous in the Temple Of The Virtuous.
While not widely recognized in contemporary art history, Huang`s artistic prowess garnered high praise from Emperor Jiaqing. References and publications from his time offer insights into Huang`s influence, with comparisons to Dong Qichang and recognition as a prominent figure in the artistic circle.
Huang`s journey to success was marked by challenges – early parental loss, persistent poverty, and academic struggles until his forties. Research indicates limited efforts to expand his networks. How Huang Yue cultivated his talents within such constraints, achieving high acclaim and approval from Emperor Jiaqing and contemporaries, becomes a noteworthy inquiry.
Chapter one explores Huang Yue`s life and artistic connections up to the Jiaqing era, delving into his role in establishing the Jinghu Painting Society and fostering relationships with Anhui collectors and literary figures. This chapter reconstructs historical context, revealing experiences before his return to officialdom in the fourth year of Jiaqing, enriched with artistic insights. Post-return, his friendly relations with mentors, senior officials, and colleagues, leaving behind widely circulated social paintings, illuminating the process of constructing his artistic reputation.
Chapter two focuses on the dynamics between rulers and officials, emphasizing the profound impact of the Emperor`s Teacher Zhu Gui and Huang Yue`s artistic and literary talents on Jiaqing`s appreciation and patronage. It establishes that Huang Yue was recognized early on for his calligraphy, leaving a historical legacy in painting, challenging conventional praise as mere flattery.
Chapter three clarifies misconceptions in art history research, addressing Huang Yue`s private paintings. Confirming his adherence to Southern School landscape painting, it unveils authentic facets of his art during that period. Also addresses misconceptions about his painting style, likely related to the decrease in surviving ii works after the Taiping Rebellion.
Chapter four analyzes tribute pages with inscriptions, depicting prosperity and tranquility. Huang Yue`s distinct style in official works, diverging from private landscape paintings, injects historical context. Lastly, by tracing the origins of these images and analyzing imperial themes, it discusses Emperor Jiaqing`s attitude towards such paintings, clarifying the purpose and reasons behind these creations, offering insights into court painting during the era. | en_US |