The artistic image of Macau in the process of interaction between Eastern and Western cultures

Van Xuguang PhD in Art History Postgraduate student; Department of Industrial Design; Russian State University of Art and Industry named after S. G. Stroganov 125362, Russia, Moscow, Lodochnaya str., 9k1, sq. 44 357899917@qq.com

For a long time, traditional Chinese art and avant-garde art, colored by Western civilization, had equal opportunities for development in Macau, which allowed the artistic appearance of the city to acquire pronounced regional features ^[1]. Already during the Ming Dynasty, in the Chenghua era, a Mago temple decorated with a statue was erected on the southwest coast of the Macau Peninsula. Located at the foot of the mountain and overlooking the sea, this temple has become one of the key examples of traditional Chinese architecture in Southern China. Macau has also become the center of a collection of outstanding pottery from Foshan, including stone bowls that attract the attention of archaeologists and collectors. In the history of art from the Ming Dynasty onwards, the origins of Macau art are actually closely linked to the first wave of Western Catholic art, including painting, sculpture, and architecture, demonstrating a cultural synthesis of the two traditions.

Due to the need for missionary activity, Macau constantly received works of Western art, among which religious paintings such as "Image of Christ", "Image of the Virgin Mary", "Madonna and Child", as well as handicrafts ^[2]. Among these works were engravings popularizing Western secular civilization, for example, "Matteo Ricci's Map".

Ⅰ. The traditional artistic image of Macau

In the era of the transition from the Ming to the Qing, missionary artists who created sketches were active in Macau. For example, in the 13th year of the reign of the Shunzhi Emperor (1655), the Dutch artist J. Nieuhof, a member of the Dutch diplomatic mission, used a brush to capture landscapes on the way from Macau to Beijing. His work "View of the Macau Islands" is an outstanding example of a landscape made using pencil and light watercolor techniques.

In the 58th year of the reign of the Qianlong Emperor (1793) As an accompanying artist for the British diplomatic mission led by Barlow, William Alexander lived in Macau for a long time, creating sketches. He used watercolor paints to depict places such as Macau Port, Xihua Mountain, Jameisa Park and others. His style was characterized by freshness and vivacity.

In the 23rd year of the reign of Emperor Jiaqing (1818), Chinese artist Zhang Bao (1763-1833) created the engraving "Remote Island of Macau", made using Western painting methods, which demonstrates the synthesis of Chinese and Western artistic traditions. After visiting Macau, Zhang Bao, who arrived by boat, created a painting, as well as a woodcut "Remote Island of Macau", made on Mount Wanzi in Zhuhai Bay. This work is a panoramic view of Macau at the beginning of the 19th century, which depicts numerous sailboats, dense island buildings, the temple of the Magician and western houses with flower pots on the windows.Although Zhang Bao used elements of linear perspective to depict buildings, the composition retains its belonging to Chinese painting with its "flat perspective" technique, which allows the work to retain the features of traditional Chinese engraving.

In the fifth year of the reign of Emperor Daoguan (1825), the British artist George Chinnery arrived in Macau, where he lived for 27 years. During this period, the unique geographical location of the region, as well as the mixing of Chinese and Western cultures, had a significant impact on Chinneri's creative style. Previously known for his oil portraits, he gradually focused on sketches and watercolor landscapes. This transition was caused by impressions of the nature and cultural features of Macau. The narrow streets, dense urban development, and architecture combining elements of Eastern and Western styles provided Chinnery with rich material for artistic research. His paintings depicting urban views, the daily life of local residents and animals reflect the vibrant atmosphere of the region. This approach contributed to the development of his style, making it more localized and focused on displaying real life.

During his stay in Macau, Chinnery reached creative maturity. He tried to convey the dynamics of moments through sketches, and with watercolor he added emotional depth and lightness to his works. This artistic style was harmoniously combined with the cultural environment of Macau, which allowed the master to convey the specifics of the region with a high degree of accuracy. Thus, Macau not only inspired the artist, but also became an important factor in the formation of his artistic language.

In 1825, Chinnery brought to Macau the watercolor technique that was popular in Britain at the time. To create his works, he used colored pencils to draw contours, after which he complemented them with watercolor paints. This technique, which was characterized by simplicity and efficiency, made it possible to accurately depict the complex architectural forms and landscapes of Macau, which made it especially popular in the local artistic environment. Thanks to Chinnery, watercolor painting was not only developed in Macau, but also began to spread in mainland China, becoming an important stage in the history of interaction between Chinese and Western fine arts.

By the middle of the 19th century, Chinnery's influence had spread beyond Macau and reached France, the United Kingdom, the United States, and China. One of the most striking examples is the French artist Auguste Borget (1808-1877), who was deeply influenced by the cultural environment of Macau. Arriving in Macau in 1838, Borge was impressed by the beauty of the natural landscapes and the unique cultural atmosphere of the region. Inspired by what he saw, he created many drawings and paintings, among which the images of the Mazu temple stand out (Fig.1). These works demonstrate the artist's fine skill in conveying architectural features, the ritual life of believers and the surrounding nature. In his letters, Borge also reflected on observations of political and military events related to Lin Zexu's anti-drug campaign. Later, these materials were included in his album "China and the Chinese", published in Paris in 1842, which became a valuable source for studying cultural exchange between East and West.

Macau influenced Borge not only in terms of developing his artistic style, but also in choosing a thematic direction, adding a deep cultural context to his work. Thus, Macau has become not just a place of creative inspiration, but also a cultural bridge that promotes the interpenetration of artistic traditions.

1 Augustin Bolger, "the temple of Mago", oil on canvas, 1839. Collection of the Macau Art Museum.

By the middle of the 20th century, a group of local artists or those who moved here in their youth had appeared in Macau, such as Du Lianyu, Gan Changling, and Zhao Weifu. They specialized in watercolor painting, mainly depicting the local Macao flavor.^[8] Their works are characterized by a rich content and a variety of subjects: streets, temples, churches, as well as the sea, rocky islands and fishing boats.

Du Lianyu (1921-1994), although his main professions were meteorologist and hotel manager, devoted his life to art, studying with a number of famous artists. He founded the Rainbow Painting Society and initiated many art exhibitions.His key work "Sailboats of Macau" (Fig.2), created in 1963, conveys the spirit of Chinese painting and is filled with powerful energy. Several precise strokes allowed the author to express the shape and structure of the hull and masts of sailboats, as well as the play of light and shadow on the water surface, concisely and expressively.

Fig.2 Dolanyu "Sailboats of Macau" ("澳门帆船"), watercolor on paper, 1963

This work reflects both the awareness of composition characteristic of modern design and the large-scale expressivity inherent in traditional Chinese painting, which demonstrates the harmonious fusion of Eastern and Western artistic traditions.

II. The image of Macau's Modern Art

In general, Macau artists follow realistic traditions and skillfully combine eastern and Western techniques. Most of them strive to explore the synthesis of Eastern and Western art, absorbing key elements from local culture, which contributes to the flourishing of the unique artistic style of the region. A group of artists is also developing, striving to go beyond traditional art. For example, contemporary artists, such as Dimi (迪美), MA Joulun (马若龙), Miao Papa (缪鹏飞), Weimin (吴卫鸣), as well as representatives of neo-realism like Liao Wenchang (廖文畅) and Shao Anlan (邵燕梁), made a significant contribution to the development of the artistic direction of the region.

In general, Macau's contemporary artists are divided into two categories: the first is artists who migrated to Macau from mainland China; the second is artists of Portuguese origin, mixed ancestry, and other nationalities living in Macau. The works of the second category of artists often reflect Western modernist elements and avant-garde concepts, demonstrating their coexistence and synthesis.

One of the outstanding representatives of Macau's art is Luis Demee, born in 1922 in Macau, an artist of Portuguese origin. He first studied drawing with D. Milly Catela, then studied painting in Paris, traveled to Europe, and returned to Macau several times to create and organize exhibitions. Dimi's work was notable for its innovation: he not only assimilated the traditions of Eastern and Western art, but also developed a modern artistic consciousness. For example, he skillfully combined decorative lines with oriental colors, forming a simple and concise style, which contributed to the formation of a unique Macau artistic style.

Dimi's painting "The Ruins of St. Paul", executed with water paints in a concise manner, conveys the elegant structure and characteristic shapes of the fort under the sunlight. The tall trees in the foreground create a sharp contrast between the mottled shadows and the austere lines of the fort. His work "Sailboat", created in 1952, is distinguished by the use of abstract lines and shapes that form a composition with musical rhythms, illusory and mysterious. In 1996, Dimi created an acrylic work on canvas "Untitled No. 1" ("无题之一") (Fig. 3). Which depicts seven people standing in a row against an empty background in a realistic manner, emphasizing their interrelationship and symbolism. The work, despite its playful and humorous form, reflects a historical shift and has a symbolist, nostalgic character. Due to his bold experiments in the field of fine art, he is deservedly called the "pioneer of modern Macau painting."

Fig.3 Dimey, "Untitled I", acrylic on canvas, 1996.

Carlos Marreiros and Victor Marreiros were born in Macau, but they grew up in Portugal, where they received a classical Portuguese education. ^[10] At the same time, their creative development was enriched by the influence of traditional Chinese culture, which, intertwined with Western approaches, formed a unique synthesis of cultures. Inspired by the expressive calligraphy of Zhang Xu and Huai Su, as well as the philosophy of Chinese literary painting, Carlos Marreiroz developed the concept of "spontaneity" (or "improvisationism"), complementing it with Western painting techniques. With his rich imagination, he has created a "new way of expression" that demonstrates the deep integration of Chinese and Portuguese cultures. Influenced by Chinese traditional painting, Carlos Marreiro often includes quotations or explanatory inscriptions in his works, which gives his works a special cultural depth. (Fig.4)

Victor Marreiro, being a designer, considers painting as a way to capture the moments of everyday life. His artistic style is based on the use of color blocks, which are created by bright color contrasts and wide brush strokes. The abstract depiction of objects in his works emphasizes the emotional and conceptual component, which makes his style both individual and expressive. ^[11]

Fig.4 "Bisanya and the mask", Carlos Marreiros,Acrylic painting ,122×122 cm, 1986.

III. Macau public art

The image of Macau's public art combines traditional religious buildings, sculptures, and tombstones with modern and unusual forms of sculpture and architecture. These works arouse the interest of residents and tourists from all over the world, become objects of discussion, photography and interaction, which highlights the key characteristics of public art.

In 1602, in the 30th year of the Ming Dynasty, the Jesuits in Macau completed the reconstruction of St. Paul's Church, which included the creation of a majestic Baroque stone arch (Fig. 5). In this arch there is a relief "The Holy Virgin shows the way to a merchant ship", which depicts the Mother of God standing on a tall sailboat. ^[9]With her eyes closed and her hands folded, the Mother of God prays, radiating calmness and peace. The image is made with elements reminiscent of ancient Chinese stone sculpture, which gives it a primitive and harsh character. On the third and fourth floors of St. Paul's Church there are two stone lions, which simultaneously perform the functional role of drains and the artistic role of sculptures. Their style is characterized by roughness of execution, while saturated with bright oriental elements.

5 Ruins of St. Paul's Cathedral (1602), Charles Spinola, Macau

For use in the modern cultural industry and tourism, the designers organically combined steel and concrete "Dai San Ba Pylou" with the front wall of St. Paul's Church. Thus, the historical gravity of this man-made church object was reflected, as well as the space and environment were reinterpreted in accordance with the needs of modern man. "Dai San Ba" not only has a Baroque decorative style, but also contains oriental inscriptions and elements. For centuries, locals have considered its shape and decor to be similar to traditional Chinese pilows, so the name "Dai San Ba" is based on its pronunciation. The facade of this pillar is the most attractive, which attracts a large number of tourists who stop here to enjoy, touch, photograph and admire it, making it the most important business card of Macau's public art.

The sculptures in the Macao cemeteries are distinguished by unique artistic features, among which the most iconic is the Cemetery of St. Michael the Archangel.^[7] The cemetery was founded in 1854, and on its territory there are ancient graves and a variety of elegant sculptures available for free access, which makes them an important part of modern public art.

Some of Macau's eccentric buildings can also be considered as public art. Most of them are entertainment complexes related to the gambling industry, which attract many tourists. Among them, the most famous is the Casino Grand Lisbon (Fig.6). Its height is 258 meters, and its shape from a distance resembles an opening golden lotus, attracting special attention. The design was inspired by the feather ornaments of the dancers, and the lotus shape symbolizes Macau. At the base of this entertainment complex there is a "Wangxianbou" ("万象球"), its base is made in the form of a golden egg, symbolizing good luck and well-being. The surface of the ball consists of 1.2 million light-emitting diodes (LEDs). At night, the surface of the ball displays endlessly changing patterns and inscriptions, creating a vivid visual impression. The ground floor of the Grand Lisbon Casino features numerous works of art such as Buddhist statues, bronze beast heads from Yuanmingyuan, large ivory carvings, and paintings by celebrities. These exhibits symbolize wealth and financial success, reflecting the peculiarities of gambling culture. This huge sculptural building is not only a landmark of Macau, but also an iconic public art object that attracts tourists from all over the world to visit, inspect and admire.

Fig.6 Casino Grand Lisbon, Dennis L.A. U & NGC Architects & Engineers (HK) Ltd.,2008 Macau

Excessively abstract sculptural works are quite rare in Macau. With the exception of some experimental attempts by young artists in the field of abstract sculpture, the forms of modernist sculptures have not had a widespread impact in Macau. Being a typical city where Eastern and Western cultures often intersect, one of the reasons modernism has not been widespread here may be the deeply rooted traditional Chinese aesthetic perception. The abstract sculpture "Oriental Arches" (fig.7), located in Ho Hsien Park, is a representative example of modernist sculpture in Macau. It was designed by Portuguese artist Zha Hualo and completed in 1996. The sculpture consists of several giant pre-cast steel structures, 28 meters high and 35 meters wide, at a cost of 6.75 million yuan. On the front side, it forms a huge arch, in the center of which circular structures are connected, forming a continuous spiral shape, reflecting the synthesis of eastern and western cultures in Macau. The shape of the arch has a pronounced symbolism, concisely conveying the visual emotionality and cultural expressiveness of abstract sculpture ^[3]. The surface of the sculpture is intentionally left untreated, which allows it to oxidize and acquire a rusty red color, giving the work a deep and massive feel. Floodlights are installed around the arch, which illuminate it in the evening, adding visual dynamism.

7 Eastern Arch, 1996, sculptor Zulmiro de Carvalho, Macau.

In general, in this cultural crossroads where different cultures merge, the artistic images of Macau vividly reflect regional peculiarities, and artists are invariably influenced by the synthesis of Eastern and Western art. Currently, with the development and support of art education in Macau, as well as the significant number of young people studying fine arts in Macau, mainland China and other countries, many of them are returning to Macau. These artists are gradually becoming an important force in the Macau art scene, bringing new energy to the artistic community, making artistic images more diverse and reflecting the trajectories and cultural trends emerging at the intersection of Eastern and Western cultures.