Self-portrait+of+Lamqua+at+the+age+of+Fifty-two


 * Self-portrait of Lamqua at the age of Fifty-two**


 * Artwork Identification**
 * Title: Self-portrait of Lamqua at the age of Fifty-two **
 * Artist(s): Lamqua ** 林官 ** (Guan Qiaochang/Kuan Kiu Cheong ** 關喬昌 ** ) **
 * Date: 1853 **
 * Period: Qing Dynasty (1644-1911) **
 * Country of Origin: China **
 * Cultural/Ethnic Affiliation: Han Chinese **
 * Medium: Oil on Canvas **
 * Dimensions: 30.5 cm x 24.5 cm (about 12 in x 9.4 in) **
 * Museum/Collection: Hong Kong Museum of Art **
 * Accession Number: Unknown **
 * Current Location and Manner of Display: Hong Kong Museum of Art **
 * Provenance: Unknown **

This entry focuses on a self-portrait of a man who became known as Lamqua ( 林官). His real name was Guan Qiaochang or Kuan Kiu Cheong ( 關喬昌). He was known for his skill in Western-style portraiture painting in the Guangdong province in China during the last dynasty in China known as a Qing Dynasty. This particular work was completed later in his career. In the 1820s, Lamqua lived in Macao, serving as an assistant to and studying under George Chinnery, an English painter. Over the years, Lamqua developed as a painter. He later lowered his prices and undercutted Chinnery. Between 1836 and 1855, Lamqua worked for a physician by the name of Peter Parker, a missionary from the United States. Under Parker, Lamqua documented patients with large tumors or other deformities through his paintings prior to surgery. A Chinese inscription on the back of the portrait states "This picture was drawn by myself at the age of 52 with the help of a mirror. It was the fourth year of Emperor Xianfeng." -sources should be cited.
 * Introduction**

The painting appears to have been worn out throughout its years of existence but must have been under good care for it does not seem that there is much damage other than wrinkles in the canvas. The style is painted in a very similar style the self-portraits of the Dutch painter, Rembrandt Harmenszoon van Rijn, more commonly simply Rembrandt. There is very little painted in the background in order to direct the viewer to the main focal point, which is Lamqua's face in this instance. It is also important to note that there are also important focal points in the traditional Chinese hat placed behind Lamqua and the traditional Chinese attire Lamqua wears. It is meant to be a realistic and representative of the artist himself. The painting itself measures 30.5 centimeters by 24.5 centimeters (or about 12 inches by 9.4 inches). It was created using oil painting upon a canvas, a style that originated in the Western world. -compare to his other self portrait.
 * Descriptive Analysis**

The First Opium War had ended 11 years prior to the creation of this painting. The Second Opium War would start three years after this painted was made. The Opium Wars began when England burst open China's gates to trade by means of smuggling opium into the China through British India against China's prohibition laws. Smuggling was the only way for the Western world to trade with China for China believed that they had no need to trade with the Western world due to their already advanced civilization. The British smuggling infuriated the Qing Dynasty emperor and led to war against the British Empire. In losing the war, China was forced to sign the Treaty of Nanking and the Treaty of Tianjin allowing for unrestricted foreign trade, tariffs, and the giving of Hong Kong to the British. This defeat embarrassed the Qing Dynasty emperor and China as a whole. Guangzhou (or Canton) became the main trade city. Lamqua spent his entire life living under Western influence. His teacher in art training was from Britian, he completed his art training in a Portuguese colony (Macau), and he lived the later part of his life in a British colony, Hong Kong. Through this painting, we see a blend of both Eastern and Western cultures. The style of painting is very typical of Western art: a oil painting self-portrait. The spatial perception is the type seen in Western paintings. The way the portrait is painted also seems to copy the style of Rembrandt, the famous Dutch painter from two centuries earlier. The subjects portrayed in this painting are clearly Chinese. It focuses on Lamqua, his traditional attire, and his traditional hat. Lamqua wants to make it clear that he has pride in his ethnicity and his place of origin. Judging by his inscription on the back, it would appear Lamqua's intended audience was to Chinese viewers. He shows a good blend of both Western and Eastern cultures and shows that it is possible for the two to work alongside each other. This is not a simple self-portrait used for documenting how Lamqua appeared to be at the age of 52. It shows the personality and character he has developed throughout the years of living in an area controlled by Western powers but still having a strong pride and identity in his ethnicity. The mode of representation, which is realism in this instance, adds to Lamqua's message since it shows that this collaboration can be real as well.
 * Formal and Contextual Analysis**

I personally love this period in history since it is the rise of Hong Kong as a city. Hong Kong is where I was born, and I have a very strong connection to the city. This painting is very representative of the era: a good blend of both the Eastern and Western worlds. This painting also represents the way I view Eastern and Western culture. Since I was born in Hong Kong and grew up in the United States, I can see the benefits to the different cultures and allow them to improve my character as a whole. I appreciate Lamqua's work since I feel like I would be able to connect to him as a person. My study of this artwork led me to find deeper meaning in everything painted on that canvas. I didn't realize the many messages that could be conveyed through a seemingly simple piece of art.
 * Personal Interpretations**.


 * References**


 * //Online Sources//
 * "Artnet.com: Resource Library: Guan: (2) Lamqua." // Artnet - The Art World Online //. Web. 05 Dec. 2010. .
 * "Lam Qua." // Wikipedia, the Free Encyclopedia //. Web. 05 Dec. 2010. .
 * // Leisure and Cultural Services Department | 康樂及文化事務署 //. Web. 05 Dec. 2010. .
 * "Opium Wars." // Wikipedia, the Free Encyclopedia //. Web. 08 Dec. 2010. .
 * "WebMuseum: Rembrandt: Self-Portraits." // Ibiblio - The Public's Library and Digital Archive //. Web. 05 Dec. 2010. .
 * //Printed Sources//
 * Fay, Peter Ward. // The Opium War, 1840-1842: Barbarians in the Celestial Empire in the Early Part of the Nineteenth Century and the War by Which They //// Forced Her Gates Ajar //. Chapel Hill: University of North Carolina, 1975. Print.
 * Tregear, Mary. "Chapter 12: Enquiry and Dislocation." // Chinese Art //. New York, NY: Thames and Hudson, 1997. 188-90. Print.

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 * Image Sources**