Qing dynasty painting of Qing dynasty culture

Under the influence of politics, economy, ideology and culture at that time, China's paintings in Qing Dynasty showed a specific style of the times. Scroll painting has continued the trend since Yuan and Ming Dynasties, with literati painting prevailing, landscape painting flourishing and ink painting freehand brushwork prevailing. Literati painting presents two trends: worshipping the past and innovating. They have different pursuits in subject matter, ideological interest, pen and ink skills and so on, forming many styles and schools. Palace painting also made great progress in Kanggan period, showing a new look of the former courtyard. The achievements of folk painting are most prominent in New Year pictures and printmaking, showing an unprecedented prosperity. The historical process of painting development in Qing dynasty is related to the development and change of the whole society, and it can also be divided into three periods: early, middle and late. Zheng Xie's "Bamboo Stone Map" bamboo as an independent painting species appeared very early. In the Tang and Five Dynasties, bamboo was painted with thick ink, while in the Northern Song Dynasty, thick ink was used as the surface and light ink was used as the back. Su Shi and later generations of Zhao Mengfu and Wang Bo all took this as their religion, focusing on realism: thick bamboo poles, thin bamboo leaves and accurate structural proportions. In the Qing Dynasty, Zheng Xie became one of them, creating a unique "Banqiao Bamboo" with a simplified shape. The bamboo pole is thin and tough, and the leaves are as fat as willow and peach leaves, as if they were ugly. Moreover, the modesty and self-improvement of bamboo is endowed with firm and noble meaning. Wang Jian's Smoke Drifting into the Distance.

"Bamboo Stone Map" is a work of Banqiao in 62 years, with several bamboos and stones. It is simple and meaningful. Looking at the overall situation, the momentum is handsome and unique. The posture of bamboo makes it sparse, looking forward to love, the stone is straight, thin and hard, the pen is smart and refreshing, and the thick stone of bamboo is light, thick and light, reflecting and interesting. The lines of the poems and paintings are unique, and the size, inclination, density and shade are arranged neatly, which makes the poems and paintings blend together harmoniously, enhances the formal beauty of the composition, and expresses their thoughts and creative motives through the inscription and postscript. "Yesterday, Dongpo lay man made a dead bamboo stone, so there was no dead bamboo stone, but it remained colorless. Yu Zuozhu is a solid stone instead of dead wood, which is intended to draw bamboo, and bamboo is mainly supplemented by stone. Today, stone is bigger than bamboo, and it is also because of special circumstances. It does not stick to the ancient law, does not hold its own views, but lives. My eldest brother is a family member, so I thank him for painting on the 9th. " Seal of "Seven Official Ears" and "Chen Bing Jinshi".

Shunzhi to the early years of Kangxi. During this period, literati landscape painting flourished and formed two completely different artistic pursuits. At the end of the Ming Dynasty, the Four Kings Painting School, which inherited Dong Qichang's mantle, took antique as its purpose, was valued by the royal family and occupied an orthodox position in the painting world. A group of Ming Dynasty painters living in the south of the Yangtze River, with lyrical paintings and pioneering spirit in art, are represented by the Eight Schools of Jinling, the Four Monks and the Xin 'an School.

The Four Kings School mainly refers to Wang Shimin, Wang Jian, Wang□, Wang, and sometimes Yun, which are collectively called "Four Kings and Five Clouds" or "Six Schools in the Early Qing Dynasty". Most of them take Dong Qichang's artistic thought as the golden rule, devote themselves to learning from ancient times, admire Yuan Sijia, emphasize pen and ink techniques, and pursue peace and interest. Because of their prominent social status, extensive friends and numerous students, the "Four Kings" have a great influence among literati, and their artistic purport is appreciated by legalists. Therefore, they are regarded as the orthodox school of painting, which influenced them until modern times. They have accumulated profound skills of pen and ink in artistic practice, and also summed up some regular experiences in pen and ink, composition, verve and artistic conception, especially developed the technique of dry pen dyeing ink layer by layer, which enriched the artistic expression forms of Chinese painting. However, they ignore learning from nature, avoid real life and lack concrete feelings, which makes most of their works monotonous and empty, lacking vitality and originality, which hinders them from achieving higher achievements. Among the "Four Kings", Wang Shimin, Wang Jian and Wang paid more attention to pen and ink, especially to Huang. Wang is called the leader. Wang can also observe nature, is compatible with various techniques, and has a variety of products. Later people called him the leader of Yushan Sect. From the middle of Qing Dynasty, the Four Kings School had a great influence on the ruling and opposition parties. Living in Lou Dongpai are Ding Huang, Tang Dai, Dong Bangda, Fang Shishu, Zhang Zongcang and Qian Weicheng. Yushan School mainly includes Li Shichuo, Song, Cai Yuan and Gu. In addition, there are "Little Four Kings" (Wang Yu, Wang Su, Wang Chen and Wang Jiu) and "Last Four Kings" (Wang Sanxi, Wang Tingzhou, Wang, Wang).

At the end of Ming Dynasty and the beginning of Qing Dynasty, a group of adherents painters gathered in the south of the Yangtze River showed their artistic pursuit contrary to the orthodox painting school. Gong Xian is the head of the eight schools in Jinling, including,, Zou□,, Xie Xun and Hu□. They live in seclusion in the mountains, lead a clean life, attach importance to learning from nature, mainly describe the scenery around Nanjing, reveal the beauty of mountains and rivers, express their true feelings, learn from the strengths of their predecessors extensively, and strive to break through the routine and create new ideas with solid skills. Although their styles are different, they are all innovative. At the same time, Chen Zhuo, Wang Yi, Liu Jin, Zhang Feng and others are also celebrities in Nanjing.

Map of Lin Qiu in Wang Yi

"Four Monks" refer to Shi Tao, Shi □ and Jian Jiang. The first two are descendants of the Ming imperial clan, and the last two are adherents of the Ming dynasty, both of whom have strong national consciousness. They express their feelings of life experience and depression through painting, and pin their passion on the mountains and rivers of their old country. In art, he advocates "borrowing the past to create the present", opposes Chen Xiangyin, attaches importance to life feelings, and emphasizes expressing his own spirit. They broke through the barriers of antique painting at that time, created a surprisingly bold, open-minded and unique painting style, revitalized the painting at that time and had a far-reaching impact on future generations. Among them, Shi Tao and Zhu Da made the most remarkable achievements. Shi Tao is the most creative painter in the early Qing Dynasty. He is famous for his unique landscape, novel scenery, bold and novel composition, changeable pen and ink, and high-spirited painting style. Zhu Da is famous for his flower-and-bird paintings, inheriting the tradition of Chen Chun and Xu Wei, and developing the method of splash-ink freehand brushwork. Works are often lyrical, using symbolic, implied and exaggerated methods to create a strange image to express cynicism and the pain of national destruction. Brush and ink washing, simple and ethereal composition, fantastic scenes, cool and handsome style, reached the artistic realm of concise pen. It has a great influence on the later Yangzhou Eight Eccentrics and modern freehand flower-and-bird painting. Stone-landscape changed from yellow to yellow, and the real scene was taken as the powder book, depicting the mountains and rivers, dense but not forced, dyed with thirsty pen, thick but not stagnant, magnificent. Together with Shi Tao, it is called "Er Shi", and together with Cheng Zhengqi (Taoist priest of the Qing Dynasty), it is called "Er□". Jian Jiang's landscape is dominated by Ni Zan, who painted many famous mountains and rivers, especially the original Huangshan Mountain. The composition is simple, the mountains and valleys are strange and stubborn, the dry pen is thirsty for ink and the order is steep, the realm is desolate and quiet, full of fresh and quiet feeling, which truly shows the quality of famous mountains. Together with Shi Tao and Wang Zhirui, he is called Huangshan School, and together with Cha Shibiao, Sun Yi and Wang Zhirui, he is called Haiyang School, forming Xin 'an School.

From the early Qing Dynasty to Kangxi (1662 ~ 1722), there were still some painting schools and painters, and their own abilities were still good. Yun's boneless flower paintings, which are similar in shape but not in spirit, are fresh and elegant in style and have a wide influence, and are called Changzhou School or Nantian School. Yuan Jiang's boundary paintings are exquisite in structure and magnificent. He was a famous frontier painter in Qing Dynasty. His nephew, Yao Yuan, inherited his painting style and was called Yuan School. Other local schools include Jiangxi School in romulo, Meng Lan School and Wulin School in Shen Lan. There are also painters such as Yu, Wang Shu, and Shangguan Zhou who are good at figures and portraits. Zhou□ was good at painting dragons and horses, while Fu Shan, Pu He, Fa Ruozhen and Huang Xiangjian were good at painting landscapes, all of them were famous artists at that time. Autumn color map of Wang Huashan

The period of Kang, Yong and Gan was a period of social stability and prosperity in Qing Dynasty, and painting also showed a prosperous scene. Beijing and Yangzhou have become the two centers of painting. Beijing court painting was once active, rich in content and diverse in forms. In the developed commercial and economic areas of Yangzhou, the Eight Eccentrics of Yangzhou appeared, forming a new artistic trend.

Palace painting in Qing dynasty, during the years of Kangxi (1662 ~ 1722) and Qianlong (1736 ~ 1795), with the unification of the whole country and the consolidation of political power, the royal family not only recruited some professional painters to worship the court, but also recruited some literati painters to serve it in disguise. In addition to setting up institutions such as Ruyi Pavilion to accommodate royal painters, the palace also adopts the form of "South Study Room" to recruit painters with bachelor's degrees and court positions. Quite a few bachelors and courtiers have actually become court painters. They often draw works that serve the purpose or contribute. Most of these works have the word "minister", which are collectively called palace paintings (see palace paintings in Qing Dynasty). Its contents mainly include: portraits of queens, ministers and top leaders of ethnic minorities, palace life paintings showing queens' lives, historical literature paintings recording major contemporary historical events, landscapes and flower-and-bird paintings for decoration and appreciation, etc. The styles and appearances are more diverse. Figure painting has traditional meticulous painting and line drawing, as well as more realistic painting that absorbs western methods; Flower-and-bird paintings include the meticulous sketch of yellow and the boneless method of clouds. Landscape painting mostly belongs to the "Four Kings" school, but the principle of freehand brushwork has not been circulated in the palace. The most famous figure painters in this period are Jiao Bingzhen, Lengmei, Cui□, Jin Tingbiao, Ding and Yao. Landscape painters include Tang Dai, Xu Yang, Zhang Zongcang and Fang Cong. Flower and bird painters include Jiang Tingxi and Zou Yigui. There are also some foreign painters devoted to the Palace, such as Lang Shining, Wang Zhicheng, ignatius Szicher Bart and others. They introduced the light and shade and perspective of western painting, created a new painting style of combining Chinese and western painting, and trained many disciples, which was highly valued by the emperor. Since Jiaqing (1796 ~ 1820), court painting in Qing dynasty has been declining, and there are no painters to praise.

In the middle of the Qing Dynasty, Yangzhou, a southern commercial city, was a metropolis in the southeast coastal area, with rich businessmen, rich people and rapid economic and cultural development. Painters from all over the world also poured in, selling paintings and performing arts, among which Yangzhou Eight Eccentrics is the most famous group of painters. "Eight Eccentrics" is not limited to eight people, but represents a group of painters with distinctive artistic personality and unique style. They inherited the banner of Shi Tao and Zhu Da, attached importance to the feelings of life and emphasized the spirit of expression. Most of their works are based on plum, orchid, bamboo and stone, and they are good at painting with splash ink. They are profound in thought, passionate in feelings, eclectic in form, wild and strange, unique in painting and innovative. The main painters are Jin Nong, Huang Shen, Wang, Li□, Zheng Xie, Li, Gao Xiang, Hua□, Gao, Bian Shoumin, Min Zhen, Chen Zhuan and others. Most of these painters have similar life experiences and social experiences, or their careers are frustrated, relegated, or both fame and fortune, and they are well dressed all their lives; Or born in poverty, selling paintings for a living, they have a personal experience of corrupt officialdom, cold world and the sufferings of the people, and their personality and behavior are also unique, or pedantic, or wild, or arrogant, or withdrawn, and they are attached to painting, thus forming an artistic "strangeness." They take plum, orchid, bamboo, chrysanthemum, stone, wild flowers, fruits and vegetables as the theme, and compare lofty character and aloof with moral means.

His personality and wild interest make his works have profound thoughts and feelings. In terms of artistic form, Chen Chun, Xu Wei and Shi Tao have inherited the tradition of freehand brushwork in ink painting, which is eclectic, bold and unrestrained, free and unrestrained, and further developed the technique of breaking the pen and splashing ink, forming a distinctive and unique style. Among the Eight Eccentrics, Jinnong's ink plum, bamboo, figure and landscape, Zheng Xie's orchid and bamboo, Wang He's ink plum, Li□' s freehand brushwork flower, Huang Shen's harmonious figure and Hua□' s small freehand brushwork flower and bird are the most prominent, which have a far-reaching influence on later generations.

During this period, other famous painters in Zhenjiang were the Dantu School (also known as Jingjiang School and Zhenjiang School) founded by Zhang□ and Gu Heqing, the high school of painting, Shen Quan, Zhu□, Zhang Xining and Zhang□, who were good at figure painting, flowers and birds and bamboo stones, as well as Jinshi landscape painters, Xigang and Zhao. Ren Yi's "Su Wu Shepherd" and Wang's "Mirror Shadow Moon"

From Jiaqing and Daoism to the late Qing Dynasty, with the decline of feudal society, China gradually became a semi-colonial and semi-feudal society, and new changes took place in the field of painting. Palace painting, which is regarded as an authentic school of literati painting and supported by the royal family, is declining, while Shanghai and Guangzhou, which have become trading ports, have become new painting places, and Shanghai School and Lingnan School have risen.

Shanghai has become the largest industrial and commercial city in China in the last hundred years, where literati and painters gather. In order to meet the needs of the emerging citizen class, painting has formed a new fashion in subject matter, content, style and techniques, and is called Shanghai School. Representative painters include Zhao, Xu Gu, Ren Xiong, Ren Yi and Wu Changshuo. As literati painters, Zhao and Wu Changshuo have made great progress in freehand flower-and-bird painting. They inherited the tradition of their predecessors and integrated calligraphy, seal cutting and other artistic expressions into painting. With vigorous brushwork, dripping ink, bright and strong colors and the layout of calligraphy stones, they have created a magnificent and heroic artistic image of painting, and the organic combination of poetry and calligraphy has opened up a new world for literati painting. Ren Xiong and Ren Yi are professional painters who make a living by painting. It is also called "four terms" with Ren Xun and Yu Ren. They have made outstanding achievements in figures, portraits and small freehand flower-and-bird paintings. The works are widely used, novel in conception, ingenious in conception and flexible in pen and ink, and have won the love of the general public with a fresh and lively style that appeals to both refined and popular tastes. Among them, Ren Yi's skills are comprehensive and diverse, and Shanghai style is the most famous. Xugu is famous for painting flowers, birds and insects. Good at bare front with dry pen, dry ink and light color, many lines and unique style. Their paintings have a great influence on modern times.

Guangdong Lingnan School of Painting was formed late, with Juchao and Julian brothers as pioneers, and Gao, Chen, Chen and others established a new school of painting in the early years of the Republic of China. They learned the style of combining Chinese and western painting formed by sketch and watercolor painting, and made a useful attempt for the new development of Chinese painting.

Li Shan's "Ba Jiao Xuanshi Map" is a mature work of Li Shan's painting style. Influenced by Xu Wei and Shi Tao, he used his pen freely, unrestrained and unrestrained, splashed ink with all his heart, combined ink and wash, and used pen calligraphy to form his own style of "ink and wash blending, full of fun". He once wrote an ink cloud: "Badashan people are good at using pens, but ink is not as good as Shi Tao." Qing Xiang Didazi uses ink best, followed by pens. The combination of pen and ink is vivid, and the beauty lies in the use of water. I am good at using water, but I am not as good at using pen and ink as my husband. The difficulty of pen and ink is also. "Qianlong and Jiaqing are the most developed years, especially in small towns, where the industrial and commercial economy is prosperous. Folk painters also organized various guilds. There are mainly murals, prints, New Year pictures and other paintings. Murals are not as developed as the previous generation, and there are not many relics left by temples, Taoist temples, ancestral halls and halls all over the country, but not many can represent the level of the times. Compared with the Ming Dynasty, folk portraits have been improved and further developed in realistic techniques and forms of expression. There are also many surviving works. Prints in Kang and Gan Dynasties once flourished, and the official "Yunnan Edition" prints had many grand systems, most of which were contributed by famous artists. Typical representative works include Plough Weaving Map by Jiao Bingzhen, Battle Map in the Rear of Pingding Command by other foreign painters, Grand Ceremony of Southern Tour by Wang and Official Tribute Map. Folk prints are also very prosperous. There are dozens of woodcut portraits and paintings drawn by famous painters, such as Liu Yuan's Hero Image of Lingyange, Shangguan Zhou's Painting Biography of Late Laughing Hall, Wang Jue's Painting Biography of Mustard Garden, Ren Xiong's Legend of Swordsman, Legend of Yue Sage, Biography of Gao Shi, Liexian Liquor Brand and so on. At the same time, there are also many excellent works in woodcut illustrations of novels, operas and other books.

Jin Nong's "Buddha Picture" shows that the Buddha looks elegant and elegant, with rough clothes and Gu Zhuo, and the background behind it is completed by his unique calligraphy. The novel composition and powerful brushwork benefit from the author's profound knowledge of stone carving.

The woodblock New Year pictures in Qing Dynasty were the most prosperous and achieved unprecedented development. The production area covers some towns in the north and south of the Yangtze River, forming New Year pictures with local characteristics such as Yangliuqing, Taohuawu, Yangjiabu, Mianzhu and Foshan. Tianjin Yangliuqing is the center of Northern New Year pictures, which was founded in the middle of Ming Dynasty and prevailed in the early and middle of Qing Dynasty. It mainly inherited the traditions of block printing in the Northern Song Dynasty, painting in the Song and Yuan Dynasties and the Qing Dynasty Painting Academy. Draw more festive and auspicious themes, with popular content, attractive pictures, full composition, bright colors, simple modeling and strong decoration. Yangjiabu New Year Pictures in wei county, Shandong Province belong to Yangliuqing New Year Pictures System. They pay attention to the primary colors, are in sharp contrast, and have a simple style, which is more suitable for the needs of the vast rural areas. Taohuawu, Suzhou, Jiangsu, is the center of New Year pictures in the south, which was born in the late Ming and early Qing dynasties and remained prosperous from the early Qing dynasty to the Taiping Heavenly Kingdom. While depicting traditional festivals and auspicious themes, the works also show the bustling urban landscape. The style not only has antique traditional style, but also imitates western painting with emphasis on perspective and light and shade. Sichuan Mianzhu New Year Pictures were founded in the late Ming and early Qing Dynasties and prevailed in Guangxu (1870 ~ 1908) years, with simple shapes and bright colors. Guangdong Foshan New Year Pictures began in Yongle period of Ming Dynasty (1404 ~ 1424), flourished from Qianlong to War of Resistance against Japanese Aggression, and painted many door paintings, which were sold in South China and Nanyang. In addition, the Taiping regime also attached importance to painting creation.

There are many murals in some areas of southern China, including landscapes, flowers and birds, figures, etc., and the famous one is Viewing the Tower from the River. In New Year pictures, there are Yanzi Rock and other works handed down from ancient times.

Painting thesis

There are hundreds of works on painting history in Qing dynasty, more than any previous dynasty, among which there are no less than 20 ~ 30 valuable works.

Kindness The theoretical works on painting theory and painting method mostly discuss literati painting since the Yuan Dynasty, and focus on landscape painting to explore its historical development and artistic characteristics. Many works devoted to painting are often illustrated and presented in the form of maps. The most important painting theory is Shi Tao's Quotations of Paintings by Bitter Melons and Monks, which uses the philosophical language system of Taoism and Zen to discuss the principle of painting creation, and has many simple materialistic and dialectical thoughts. Shen Zongqian, Qin and others' Painting Theory on Jingshan, Painting Theory, Mustard Boat Painting Theory and Tongyin Painting Theory are also famous works of painting theory. This paper mainly talks about painting methods, such as Wang's Biography of Mustard Garden and the Sketch attached to the last three episodes, as well as the painting methods of landscapes, plum blossoms, bamboos, flowers and birds and figures. Gao Ding's The Secret of Portrait is devoted to portrait techniques. Zou Yigui's Landscape Painting Spectrum is the earliest monograph on flower painting in China. Gao Bing's On Finger Painting is a monograph on finger painting. Miscellaneous notes on bamboo paintings in Song Jiang. Many other works, such as drawing postscript, drawing formula, evaluation, essays and so on. , but also involves painting theory.

History of painting

There are various styles, including general history, dynastic history, special history and local history; There are biographies of painters arranged by time, and there are biographies of painters arranged by surname similar to the dictionary of names.

Cloud "Peony Map" This "Peony Map" is elegant in shape, with gorgeous peony and graceful branches and leaves; Beautiful facial expressions, moist colors, elegant brushwork and quiet artistic conception give people a bright and fresh feeling. Qin commented on Yun's paintings, saying, "Flowers care about the past and belong to Xu Chongsi in the Northern Song Dynasty, washing his habits, making a new face and sketching appropriately", and "Compared with immortals, it is out of touch and listed as yi pin". Yipin is the highest in the classification of traditional Chinese painting, which shows that Yun's family has been highly praised in previous dynasties.

In the history of painting

Jiang Shaoshu's History of Silent Poetry and Xu Qin's Ming Hua Ji are biographies of Ming painters. Zhang Geng's "Guo Chao Hua Ji" was specially made for painters in the Qing Dynasty, including more than 450 painters from the early Qing Dynasty to the middle Qianlong period. Feng Jinbo's "Painting Knowledge of the National Dynasty" and "Painting Knowledge of Moxiangju" include more than 800 painters from the early Qing Dynasty to Jiaqing/kloc-0; Jiang's Ink Painting, followed by Mo Xiang Ju Hua Zhi, included four generations of painters 1286 people; Zhang Mingke's Painting Theory of Han Songge and the Story of Maureen Today, which included more than 330 painters from the three dynasties of Xian, Tong and Guang, were the last chapter in the dynastic history of Qing Dynasty.

Special historical works

By region, Yu Yi's A Brief Introduction to Yu Hai Painting Garden and Shao Songnian's A Supplement to Yu Shan Painting Records were specially recorded by artists in Changshu. Wang's Record of Yangzhou Painting Garden, dedicated to Yangzhou painters in Qing Dynasty; Shanghai Jiading painter's work collection "Cheng Shan Painting Collection"; Tao Yuanzao's "Experience of Painting More" was specially selected by Shaoxing painters. Zhou Lianggong wrote in Reading Pictures that the author had to make friends with painters in the late Qing Dynasty and the early Republic of China. There are also works written by categories, such as Hu Jing's "Painting Record of the National Academy", which was dedicated to court painters in the Qing Dynasty; Tang Shuyu's History of Jade Painting, a collection of female painters of past dynasties; Li Fang Eight Banners Painting Record and Manchu Painters Album; Tong Yi Yi's "Mu Mei Ren Directory" is a special collection of famous painters of past dynasties. Peng Yuncan's Biography of Painting History is the most famous in the order of strokes of painters' surnames, and it is also the first in the dictionary of painters' names.

In the Qing Dynasty, many paintings and calligraphy works merged together, and a comprehensive series appeared at the same time. Pei Wenzhai's Calligraphy and Painting Notes is the most important macro masterpiece, with *** 100 volumes and 1844 kinds of books cited. It is a masterpiece in the history of calligraphy and painting with complete information and rigorous style.

There are many books recorded in the Qing Dynasty. The narrative books of Neifu Collection are relatively complete, and the Secret Hall and Shiqu Baodi compiled by Feng□ during the years of Gan and Jia almost completely compiled Neifu Collection. Some editors also organize their notes into works. Such as Ruan Yuan's Essays on Shiqu and Hu Jing's Notes on Xiqing. Private collections and books recorded by connoisseurs are also common. Famous works include Mo Guan by An Qi, Summer Selling in Jiangcun Village, Summer Selling by Gengzi, Spectacular Life by Gu Fu and Grand View by Wu. At the same time, there have been a series of compilations, among which Bian Yongyu's Collection of Style Ancient Hall Paintings and Calligraphy is a representative work that records books of past dynasties. The Qing Dynasty (A.D.1616-1911) was the last feudal dynasty in China. The architecture of this period generally followed the tradition of the Ming Dynasty, but it also developed and innovated, and the architecture was more exquisite.

Beijing, the capital of the Qing Dynasty, remained basically the same in the Ming Dynasty. There are 20 tall and majestic gates in the city, and the most magnificent is the Zhengyang Gate in the inner city. Following the imperial palace of the Ming Dynasty, the emperors of the Qing Dynasty built a large-scale royal garden, which is the essence of Qing architecture, including the magnificent Yuanmingyuan and the Summer Palace.

In the examples of architecture in Qing Dynasty, the level of group arrangement and decoration design has reached maturity. Landscape architecture, in particular, has a high level of modeling and change in combination with terrain or space.

During this period, building technology is still innovating, mainly in the introduction and use of glass and the progress of masonry. During this period, the residential buildings in China were rich and colorful, and there were many flexible freestyle buildings.

Tibetan Buddhist architecture with unique style flourished during this period. These Buddhist temples have various shapes, breaking the traditional single style of the original temple buildings and creating colorful architectural forms, represented by a number of Tibetan Buddhist temples built in Yonghe Palace and Chengde in Beijing.

In the late Qing Dynasty, some new architectural images combining Chinese and Western styles appeared in China.