Art and Design, Vol. 3, Issue 3, Sep  2020, Pages 34-43; DOI: https://doi.org/10.31058/j.ad.2020.33004 https://doi.org/10.31058/j.ad.2020.33004

The Painting Heavenly Goddess in Macao Integrating the Images of the Supreme Chinese and Western Beliefs

Art and Design, Vol. 3, Issue 3, Sep  2020, Pages 34-43.

DOI: https://doi.org/10.31058/j.ad.2020.33004

Suoqi Li 1*

1 The Institute for Social and Cultural Research, Macau University of Science and Technology, Macao, China

Received: 20 May 2020; Accepted: 16 July 2020; Published: 30 July 2020

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Abstract

The painting Heavenly Goddess in Franciscans Church of Macao has replaced the stereotyped norm of Chinese sages and humanistic moral expression for Matsu with the traditional Chinese “symbolic” image of ancient beauty. Meanwhile, it has incorporated the Western image of Holy Son and the Virgin Mary holding baby Jesus in its composition, thus fulfilling the transformation and combination of Chinese and Western core cultures with a new visual art form integrating the Chinese and Western features. The picture is a product of the multiple social civilizations in Macao, and as a “missionary picture”, it also contains obscure missionary strategies and subtle artistic conception, marking the impact on and deconstruction of the core concepts of traditional Chinese culture by western civilization. The painting is a typical and artistic record of a period of history of cultural exchanges between China and the West since modern times.

Keywords

Macao, Matsu, Heavenly Goddess, Missionary Painting, Missionary Strategy, Cultural Exchange, Integrating the Chinese and Western Features

Copyright

© 2017 by the authors. Licensee International Technology and Science Press Limited. This article is an open access article distributed under the terms and conditions of the Creative Commons Attribution (CC BY) License, which permits unrestricted use, distribution, and reproduction in any medium, provided the original work is properly cited.

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