The influence of Chinese culture and images on the work of 19th-century Russian artists who were part of the Russian Ecclesiastical Mission in Beijing

Yan Jianqu Poargraduate student, Department of Art History and Pedagogy of Art, Herzen State Pedagogical University of Russia 191186, Russia, Saint Petersburg, nab. Sinks, 48, room 6, office 51 yangjianqu@rambler.ru Other publications by this author

Introduction

In the context of fruitful cooperation in the field of art and art education between Russia and China, research related to the study of existing ties in the past is being updated. From the XVIII to the beginning of the XX century, the interaction between the two countries was carried out thanks to the Russian Orthodox Mission. In the 19th century, graduates of the Imperial Academy of Arts of St. Petersburg were among the representatives of the Russian crown in Beijing. Their creative activity is of interest to study, including in terms of the impact that the Celestial Empire and its culture had on them.

Both Russian and Chinese researchers addressed the topic of the works of Russian artists who were part of the mission. Among the latter, it is worth mentioning the historian Xiao Yuqiu, who published in 2009 the monograph "The Russian Spiritual Mission and cultural ties between China and Russia during the Qing Dynasty" ^[1]. Attention in the book, as well as in a number of publications ^{[2, 3]}, is also paid to the work of the painters who are with her. In Russia, E. V. Nesterova studies in detail the role of the mission in the formation of Russian-Chinese contacts in the field of art ^{[4, 5, 6]}. Russian Russian researchers consider images of Russian people created by Russian authors, but with attributes characteristic of China, for example, a portrait of N. Ya. Bichurin (LOIV of the USSR Academy of Sciences, 1810-1820s), a watercolor portrait of 3. F. Leontievsky (M. E. Saltykov-Shchedrin State Museum of Fine Arts, 1830s), etc. Researcher G. Y. Smirnov summarized information about the most famous artists who visited Beijing in the 19th century ^[7].

No less important in the framework of the study are the works concerning cultural exchanges that existed and developed between Russia and China in the XIX century. So, we are talking about those works that are devoted to the activities of members of the Russian Ecclesiastical Mission in Beijing, namely: A.V. Lomanova ^[8], I. N. Osmakova ^[9], L. V. Zhukov ^[10], T. S. Sergeev ^[11], A. Y. Litvin ^[12], etc. Modern researcher N. A. Samoilov offered a brief overview of the most famous of them, and also outlined the features of reflecting images associated with the Middle Kingdom in their work. According to him, "the landscapes, genre paintings, portraits of nobles and commoners painted by them played an important role in shaping a new image of China in Russia in the 19th century" ^{[13, p. 25]}. N. S. Safronov examines the influence of artists on the political situation in Qing China ^[14]. A small study of the art collection on the ethnography of China from the collection of the Krasnoyarsk merchant-bibliophile G. V. Yudin, which included works by the artist of the Spiritual Mission L. S. Igorev, is also of interest ^[15]. The identification and analysis of research problems will allow us to further develop a methodology for studying the activities of these painters. Thus, A.M. Kuryanova, completing the generalization of the work of the most famous missionary artists, notes that they left "a very peculiar mark in the history of art," but at the same time the study of their work remains "a noticeable lacuna in Russian art studies, while the history of the Russian spiritual mission itself or the work of Western missionaries in China are analyzed and domestic and foreign specialists are quite dense" ^{[16, p. 106]}.

It should be noted that the way the expressive language and manner of creating works of fine art by artists who visited China as part of the mission were not considered. Meanwhile, an appeal to the comparison of artistic material created before and on time, as well as after a stay in China, can show how the culture of a distant country, its traditions in painting and perception of the world influenced the work of Russian masters. Thus, this study is aimed at correlating the works created by artists who visited Beijing in different periods of their creative career through stylistic and compositional analysis in the context of the connection between the traditions of Russian and Chinese art.

Reflection and reception by Russian artists of images of China and the artistic language of its traditional art

It is known that during the stay of Russian artists in China, fundamental scientific works were created that summarized knowledge about this distant and exotic country. Moreover, it was no longer just a description, but a "synthesis of facts" ^[17]. The sphere of art was also considered an object of research, which attracted such painters as A.M. Legashev, K. I. Korsalin, I. I. Chmutov, L. S. Igorev, etc. According to E. V. Nesterova, on the one hand, the artists studied the artistic heritage of the Chinese, and on the other — "the formation of contacts in the field of fine arts" and the popularization of the work of Russian masters ^[18]. Hence the involvement of Chinese artists in the paintings of the temple and other artistic works, and the creation of a number of portraits of local nobility by Russian painters. This contributed to the strengthening of political and, following them, economic ties. Awareness of responsibility in such a case led to the fact that the leadership of the Imperial Academy even made special recommendations for artists sent to Beijing. According to them, the latter should "make an effort to study and compose and use Chinese real water and other kinds of paint preparation", "engage in drawing from nature of all kinds of extraordinary ..." ^[18].

As part of the eleventh mission in the 1830s and 1840s, there was A.M. Legashov, a Russian portrait painter and graduate of the Imperial Academy of Arts, who was strongly influenced by the painter A. G. Varnek. The artist wrote student and graduate works before coming to China. It is known that the latter did not make an impression, and Emperor Nicholas I was "dissatisfied with the drawing of his portrait, and especially with the image of his hands" ^{[19, p. 240]}.

Figure 1. Legashov A.M. In the mountains of China. Canvas, oil. 1830. Pskov State United Historical, Architectural and Art Museum-Reserve.

While in China, the painter executed more than thirty portraits and drawings, some of which were donated to the Chinese. At that time, the author became interested in the genre of everyday life and landscape. He collected a lot of ethnographic material in the form of sketches and sketches. His easel works were distinguished by a good conscientious drawing, but weak color and some fragmented composition (Fig. 1). It is noticeable that A.M. Legashev sought to depict the life of the Chinese idealized, which is perhaps due to the still strong romantic trends in Russian art of those years. Meanwhile, the desire to express the harmony of the surrounding world and the person in it is also characteristic of Chinese painting, with which the artist was undoubtedly familiar. At the same time, the author did not strive at all for the decorative and applied nature of Chinese art, remaining true to nature.

Figure 2. Legashov A.M. A Chinese man and a Chinese woman on a background of rocks. Oil on canvas. 1862. Primorsky State Art Gallery. Source: https://izi.travel/ru/c891-a-m-legashov-kitaec-i-kitayanka-na-fone-skal-1862/ru

After arriving in Russia, A.M. Legashov returned to images associated with China. Creating them in the spirit of academic art, he continued to strive for an aesthetic understanding of nature and its relationship with man. In addition, he took into account the symbolic essence of Chinese art, which became close to him. Thus, in a genre work entitled "A Chinese man and a Chinese woman against a background of rocks" (1862), through the traditional symbolism, primarily of flowers, the painter revealed the plot and meaning of the work (Fig. 2).

Figure 3. Korsalin K. I. Portraits of K. Y. Daragan and A. I. Daragan. Watercolor, paper. 1843-1845-ies. The National Historical Museum of the Republic of Belarus. Source: https://upload.wikimedia.org/wikipedia/commons/thumb /

Already as part of the twelfth mission in the 1840s and 1850s, K. I. Korsalin replaced A.M. Legashov. He was also a graduate of the Imperial Academy of Arts. During his stay in Beijing, the young artist focused on studying Chinese painting, primarily the technology of its creation. In part, the research he undertook affected the way he painted images of Chinese officials, and later, in Russia, of his compatriots. So, during his stay in Irkutsk, K. I. Korsalin created portraits of the Daragan couple. Husband and wife appeared on different canvases. The appeal to watercolors immediately upon returning from China is significant, given the obligation of Russian artists to study the techniques and materials of Chinese art, which the Academy and the mission assigned to them. The author uses traditional techniques for European art in the arrangement of models, layout and attributes, poses. However, the subtlety of the color, attention to the line and the desire to leave as much "air" as possible due to the large volumes of architecture, skies and vegetation resembles Chinese painting (Fig. 3). It also shares with it that calm and peaceful state in unity with nature in which the models are immersed.

Figure 4. Korsalin K. I. View of Van Sheu Shan, Bogdyhan's country palace. Canvas, oil. 1960. Source: https://www.rah.ru/the_academy_today/the_members_of_the_academie/member.php?ID=52912

It is noteworthy that after returning to Russia, K. I. Korsalin became an academician of portrait painting. However, this did not prevent him from turning to images of nature. Thus, the landscape is known as "View of Wang Sheu Shan, Bogdyhan's country palace" (1860). This work is reminiscent of "Chinese City" (1864) by A.M. Legashov. Both masters wrote easel works based on their sketches and memories of visiting China. K. I. Korsalin captured the originality of the local nature, scenes from the life of the Chinese. The latter are presented in the form of small staffage figures. The master clearly divided the canvas space into plans, took into account the specifics of lighting (Fig. 4). The painting seems full of air and space. It is obvious that the master wanted to depict the boundlessness and versatility of the world open to himself. And the fact that he turned to an uncharacteristic natural motif for his work and reinterpreted it much later, combining it with his imagination and memories, brought him closer to the traditions of the Chinese landscape.

The thirteenth mission sent to Beijing in 1850 included the painter I. I. Chmutov, also a graduate of the Imperial Academy of Arts. However, unlike A.M. Legashev and K. I. Korsalin, this artist specialized in historical painting, being a student of F. A. Bruni and P. V. Basin. Before leaving for China, the young artist painted a number of student works on religious subjects and received high awards for them, including gold medals.

Figure 5. Chmutov I. I. Outside the walls of Beijing. Paper, watercolor, whitewash. 1855. The State Tretyakov Gallery. Source: https://tretyakovgallerymagazine.ru/articles/2-2010-27/russkie-khudozhniki-puteshestvenniki

I. I. Chmutov stayed in China for almost 10 years, which allowed him to create a large amount of artistic material. It is known that he brought with him albums of drawings of the everyday genre, scenes from the life of the Chinese, landscapes and a collection of works by Chinese masters, as well as portraits of local nobility. However, only lithographs of some of them, printed in two books, remain from this rich collection. The watercolor "Beyond the walls of Beijing" is interesting, in which the author depicted a scene he saw in life. It is obvious that the artist sought to show local customs, social hierarchy, costume details, and characteristic objects. In the distance, he depicted a wall with towers similar in shape to pagodas (Fig. 5). Drawing by I. I. Chmutov was easy, academic training was felt, but the color did not seem so harmonious. The bright and mottled foreground contrasted with the smooth and majestic backdrop. The author was attentive to the linear principle, carefully conveyed the irregularities of the landscape, the outlines of distant towers against the background of a cloudless almost lilac sky. It is noticeable that in the construction of the landscape, he was largely inspired by Chinese landscapes with mountains and hills.

Figure 6. Igor L. S. Portrait of K. To Wenzel. Canvas, oil. 1858. Irkutsk State Art Museum. Source: https://ru.wikipedia.org/wiki/%D0%92%D0%B5%D0%BD%D1%86%D0%B5%D0%BB%D1%8C,_%D0%9A%D0%B0%D1%80%D0%BB-%D0%91%D1%83%D1%80%D0%B3%D0%B0%D1%80%D0%B4_%D0%9A%D0%B0%D1%80%D0%BB%D0%BE%D0%B2%D0%B8%D1%87#/media/%D0%A4%D0%B0%D0%B9%D0%BB:Igorev-Wenzel.jpg

In the fourteenth mission, L. S. Igorev, a portrait painter who successfully completed his studies at the Imperial Academy of Arts and taught at the St. Petersburg Theological Seminary, was a full—time artist. Before coming to Beijing, his brush had already owned portraits, as well as iconographic images for temples in various cities of Russia. The works he created were distinguished by their attentive attitude to the model, the desire to convey its characteristic features without embellishment and improvements (Fig. 6).

Figure 7. Igor L. S. Chinese beggars in the cold picture. Canvas, oil. Around 1865, the State Tretyakov Gallery. Source: https://readpubg.com/wiki/ru/Lev_Igorev

In China, L. S. Igorev created many easel paintings in both portrait and household genres. So, in 1865, he sent to Russia, among others, the work "Chinese Beggars in the cold", which was bought by P. M. Tretyakov. This work was created as part of the artist's search for special national types. It is noticeable that he reacted sensitively to the attraction of native art to a realistic vision of nature, the desire to show all the vicissitudes of people's lives. He focused special attention on the faces of the models, which he obviously painted from life. He was also interested in what they were wearing. The torn skins on their bodies are scrupulously painted with the transfer of beautiful pearl-gray shades (Fig. 7). In other paintings of the same period, the master also paid attention to the social status of the Chinese depicted, their costumes and paraphernalia. Like Chinese artists, he sought to convey the inner world of models, their feelings, "supporting" it through "talking" details. And this happened in parallel with the "birth" of a psychological portrait in Russia. A special sound, which is not typical for the period of stay in Russia, was acquired by the environment — architecture and natural motifs. They helped the author convey the idea.

Conclusions and generalizations

Russian Russian artists of the 19th century, who had the opportunity to come into contact with Chinese culture within the framework of the Russian Orthodox Mission, conducted a comparative analysis shows that they are united by their proximity to the traditions of the Russian academic school and high mastery of drawing techniques, as well as a desire to convey images truthfully – as they were seen by artists in nature. This was due to the tasks that the members of the mission faced, and their personal desire to soak up the atmosphere of an exotic country. It should be noted that in China, nature begins to play a special role in their work. Even if the authors did not initially write it, then in the Chinese period of creativity it necessarily appeared in the figurative series of their works. After returning from China, she also accompanied them. Perhaps this was due to the familiarity of Russian masters with local painting, in which the landscape with the image of mountains and waters occupied a dominant position. In the late works of some of them, especially A.M. Legashev, a line of picturesque memories of the Celestial Empire arose, where images and techniques inspired by Chinese painting appeared.

In general, it can be concluded that the main feature of the work of Russian artists who were part of the mission remains loyalty to the traditions of the national school of painting, and the Chinese period enriches them with new visual experience and performance techniques. The work of painters is also influenced by time. So, if Russian masters in the 1830s and 1850s preferred to paint images of China and Russia in a romantic way, then the artists who were in the Middle Kingdom already in the 1860s, on the contrary, sought to naturalistically convey what they saw with an emphasis on the psychological component in the images of people in anticipation of the development of the art of critical realism.