The China Trade
The trade between China and the West evolved steadily through the centuries, first along the Silk Road that took the Turk mer chants to Asia via Persia, and later by sea. T he slow but continuous disintegration of that overland trade route, in the 14th and 15th centuries, forced Europeans to search for an alternative access to the Far East and to its valuable silks, porcelains, tea and various other luxury goods. T he Portuguese would be the first to attain this aim, arriving in India in 1498 and settling in Macao in 1557, a small but valu able territory that would soon become the most important plat form for accessing the Chinese Empire and its products, eventu ally growing to be one of the great trading outposts in the whole of Asia. As pioneers and privileged intermediaries, the Portuguese became intensely involved in the profitable international trade routes between China and other Eastern and European ports, contributing to the development of the important cultural ex changes that ensued. However, this Portuguese monopoly would cease in 1685, when Emperor Kangxi (r. 1661 – 1722) decrees the opening of the Port of Canton to other European powers. Later, in 1757, during the reign of Emperor Qianlong, the closure of all other Chinese ports to international trade turned Canton into the only Chinese market available to foreign merchants. Conveniently lo cated close to the mouth of the Pearl River, by the Island of Ho nam, Canton became the most important city in southern China, and the place where western traders were welcome, albeit within certain clearly defined parameters. The western settlers were ac commodated in an area outside the city walls and expected to follow a set of rules designed to ensure racial segregation, and obstructing any contacts between them and the indigenous Chi nese population. Various western countries would install their own trading outposts, or ‘hong’, in Canton, eventually growing to thirteen, amongst them England, Holland, France, Denmark, Sweden and the United States, keeping a strong international presence until the first Opium War of the late 1830s. T he opening of Canton had an immediate effect, substan tially increasing traffic in the strategic port of Macao, located on the Pearl River delta, by the unavoidable pass into Whampoa Is land, the last stronghold before Guangzhu (Canton). Contrary to initial expectations, the presence of European merchants was by no means consensual and trade was only al lowed under very specific conditions. Emperor Qianlong imposed the Canton System as a means to controlling trade with western ers, by forbidding any direct commercial exchanges. It was only possible to trade with Chinese authorised dealers (Cohong) who belonged to the guild of city merchants, the hong, that was under the jurisdiction of the governor-general and of the customs su pervisor (hoppo), both responsible for establishing product quo tas and tax rates. T here were however, very few western products with signif icant markets in China, an unavoidable fact that made trade dif f icult. In an attempt at counterbalancing this deficit, by the late 18th century both Britain and the United States turned to opium as a trade currency. In 1830 England was granted exclusivity incommerce to and from the port of Canton, but the ever-increas ing raw-materials deficit promoted the growth of the Indian opi um traffic, eventually forcing the Beijing government into acting by prohibiting it. In protest, the English send their navy ships in, in a demonstration of military power, to force the Emperor into changing his position, but eventually causing the closure of Canton to all foreign trade in 1839. PAINTING European influence over Chinese art was only felt by the late 18th century, with the arrival of English and French merchants, which promoted commissions destined to wealthy European clients. Beyond the well-established porcelain orders, they commis sioned paintings, lacquer work, ivory carvings and furniture piec es in the European taste, which the Chinese artists produced with remarkable skill. This trade promoted the spreading of Chinese art as well as the development of its imitations, the chinoiseries. In its paintings, the China Trade portrayed favoured ex port goods (tea, silk and porcelain), indigenous flora and fauna, quotidian scenes, portraits and landscapes, particularly views of the places most visited by foreigners. In fact, these paintings as sumed the role of postcards and souvenirs sold to visitors, which became important historical sources. Produced by Chinese artists in the western manner, some times under the supervision of resident European masters based in Macao, these works are often studio productions involving various hands, in response to a wide and constant demand. The result was a hybrid style, of careful detail, refined precision and bright and luminous colour palette, albeit of rather flat perspec tive and lacking the rigour of western art. These paintings were often sold from small local boats, directly on to the arriving Eu ropean ship’s passengers and crews. Within this China Trade production we will focus specifical ly on the group depicting marine scenes, particularly those re ferring to trade between European and Chinese. These bustling scenes have survived in considerable numbers in the artworks purchased by Europeans, as souvenirs of their passage through China. Today, their charm residing not only on the beauty of the landscapes and on their technical quality, but also on the history and documentary evidence they enclose, becoming extraordinary windows into 19th century world history. Often produced in sets, the most common are composed of four paintings with views of the final sequential journey of the European ships; Macao, the first urban mass on approach ing China, Bocca Tigris the impressive entry into the Pearl River, Whampoa Island, the final ship’s anchorage and Canton, the final destination. T he paintings described herewith correspond to the first three stages in this sequence, fitting seamlessly within the Chi na Trade parameters. As period testimonies they allow for the perception of the geography, the architecture and the daily exist ences in Macao’s Praia Grande, Bocca Tigris and Whampoa Island, assuming a documentary precision that surprises by the detailed information they provide on these early 19th century ports.
Macao - Praya Grande
Impressive view, taken from the Bom Parto Fortress, of the Praia Grande Bay on the mouth of the Pearl River Delta, the first stop on the upriver trip to Canton. The European looking buildings extend all the way down to the beach. In the centre the Church of the Mother of God (Madre de Deus) next to the Jesuit College of Saint Paul. On the hilltops, two fortresses; Our Lady of Guidance (Nossa Senhora da Guia) and, to the right, Saint Paul on the Hill (São Paulo do Monte). Three Chinese figures walk in the beach, while the bay is dotted by numerous small junks and sampan. On the foreground two large Chinese cargo vessels. Portuguese traders were allowed to settle in Macao in 1557, building a city in the European fashion. Truly a postcard view, this painting depicts some of the city’s better-known buildings, such as the Madre de Deus Church, São Paulo College and Monte Fortress — the first Portuguese governors residence. The church, built in 1565, was followed by the neighbouring Jesuit College, founded by Alexandro Valignano in 1594, which would become the most important Christian centre in Asia and a pioneer in the training of catholic missionaries. Destroyed by fire in 1595, the whole complex was rebuilt around a magnificent basilica. In 1762, following the abolition of the Society of Jesus by Pope Clement XIV, and the expulsion of the Jesuits by the Portuguese authori ties the college was fully abandoned. In 1835 the whole compound is, once again, ravaged by fire, the ruined basilica facade becoming the iconic symbol of the city. T he restrictions imposed on the ‘Trading Season’ in Canton, which stipulated that traders could not remain in the city after the beginning of monsoon, had a significant impact on the de velopment of Macao, as various international merchants would settle in the city for the remaining part of the year, often with their families, contributing to the cosmopolitan environment for which the city was renowned. Depicting the original pre-fire compound, the present paint ing can be safely dated to before 1835.