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Art

Although it was later reproduced using a variety of methods, the first editions of the Painting Manual of the Mustard Seed Garden—printed in the late 17th and early 18th centuries—are important examples of colour woodblock printing. The technique originated in Asia, with the earliest surviving examples dating to the Han dynasty (206 BC–220 AD).

Many renowned Chinese painters began their training with the Mustard Seed Garden, as did many Japanese artists of the Edo period.

In the preface to Portraits from the Hall of Late Blossoming, Shanguan Zhou explains how he selected figures for inclusion:

These 120 do not account for all the ancients. Many more captured my imagination, but I have simply taken a few examples from among thousands to satisfy my personal preferences. Viewing them together, in addition to the meritorious ministers of the Ming, I find that I have included personages from the dynasties of the Han to the Ming; among them are princes, marquises, generals and ministers; the loyal, the filial, the conscientious and the righteous; poets, writers, calligraphers and painters; Daoists and Buddhists. I even find members of the fairer sex. It is just like gathering them all in a single hall and listening to their chatter.

Shanguan Zhou

Painting minority cultures

The border regions of Yunnan, Sichuan and Guizhou were home to diverse communities that had long resisted central rule. The Qing dynasty adopted earlier strategies of governance, including forming alliances and using military force. They also initially took a positive interest in learning about these groups.

One result was the so-called Miao Albums, collections of illustrations that portrayed the customs of ethnic groups in these border regions. Originally created for administrative purposes in the early Qing period, they were later marketed more widely. By the 19th century, they were commonly available in cities such as Beijing and Shanghai.

These richly detailed images offer insights into the lives of ethnic minorities during the Qing dynasty, though their accuracy must be critically assessed.

illustration of band playing under trees by a stream

Zhongguo Xi nan di qu shao shu min zu sheng huo xi su hua ce] [Paintings of life and customs of the minorities in the Southwest China], 1850, nla.gov.au/nla.obj-76789707

Zhongguo Xi nan di qu shao shu min zu sheng huo xi su hua ce] [Paintings of life and customs of the minorities in the Southwest China], 1850, nla.gov.au/nla.obj-76789707

Learning activities

Activity 1: Comparing painting styles

Ask students to compare painting and woodblock printing styles from Qing China and Edo Japan (1603–1868). They should present their findings visually, using Prezi, PowerPoint or similar tools.

Activity 2: Influences of Confucianism

Ask students to investigate Confucius and his influence during the Qing dynasty.
Prompt discussion:

  • What was the relationship between the Qing dynasty and earlier dynasties?
  • How did Confucian ideas shape this relationship, particularly views of antiquity?

Activity 3: Composite rubbings

Devise a classroom activity to explore composite rubbings. Have students choose a three-dimensional object and reproduce it on paper using crayons and different rubbing techniques.

Encourage students to:

  • Reflect on the idea of ‘accuracy’ in rubbings
  • Explore modern examples (such as, gravestone rubbings in family history, archaeological documentation)

Activity 4: Interpreting historical images

Use the image Paintings of life and customs of the minorities in Southwest China to prompt discussion.

Ask students:

  • How reliable are paintings as historical sources?
  • Were the scenes posed or influenced by the artist or audience?
  • What perspectives are being represented—and which are missing?
Page published: 20 May 2025

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