Impressions of Guangzhou city in Qing dynasty export paintings in the context of trade economy: a color analysis of paintings based on k-means clustering algorithm

Abstract

Study on export paintings has gradually shifted from artistic form to cultural connotation, with an emphasis on cross-cultural communication. Although the economic and social dimensions of their artistic value have been explored, few studies delve into the connection between Qing-era Guangzhou's trade culture and its color characteristics. Utilizing the HSV color model and the k-means algorithm, this study analyzes the color traits of 35 export paintings depicting Guangzhou landscapes and works from the "Thirteen-houses commercial zone," revealing Qing-era Guangzhou's urban impressions and Sino-Western artistic interactions. Key findings include: (1) the hue pixel range in Guangzhou export paintings primarily spans 10°–60° and 120°–250° (dominated by red and yellow-green), saturation values range from 1–82% (primarily low saturation), and value values range from 11–94% (with a wide variance); (2) compared to traditional Chinese paintings, the transformation from pure color (正色) → inter-color (间色) → projection-perspective and light source illustrates both the blending of Eastern and Western artistic cultures and a diminishing influence of traditional ceremonial culture; (3) in contrast with Western artworks, some Guangzhou export paintings display a Westernization trend in color structures, evident in vibrant colors and stark chiaroscuro contrasts. As bespoke art commodities, export paintings microscopically reflect Guangzhou's unique trade culture and socio-political dynamics. The shifts in color schemes, integration of realistic styles, and human-centric characteristics unveil the intricate interplay between quasi-realism and transcendental aesthetics in Qing-era Guangzhou, as well as the nuanced dynamics between social capital and art within a global trade network.

Quantitative typological analysis applied to the morphology of export mugs and their social factors in the Ming and Qing dynasties from the perspective of East–West trade

“…In terms of market impact, particularly since the establishment of the Thirteen Factories in Guangzhou in 1757, making it China's sole port for foreign trade [59], this historical event played a crucial role in the artistic evolution of mug forms. Market demand orientation emerged as the primary driver for the evolution of form art, while adjustments in the merchant system constituted a secondary force.…”

Artistic heritage conservation: the relevance and cultural value of Guangzhou clan building paintings to traditional rituals from a kinship perspective through perceptual assessment and data mining

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