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Tel: (853) 2835 7911
Fax: (853) 2835 8503
Praceta do Museu de Macau, n.º 112
Tel: (853) 2835 7911
Fax: (853) 2835 8503
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全館導賞服務。
O Museu de Macau oferece visitas guiadas às
exposições temporárias e ao Museu em geral.
Macao Museum provides guided tours for temporary
and permanent exhibitions.
H o m e
品
5 - 29/8/2010
29/
喬 治 • 錢 納 利
澳門博物館藏 colecção do Museu de Macau collection of the Macao Museum
作
玫瑰堂外市集攤販 Tendas junto à Igreja de S. Domingos Market stalls by the St. Dominic’s Church
他 鄉 故 里
G
watercolours and oil paintings, a similar appeal to which was
manifested in both the long scroll panoramic painting Along the River
during the Qingming Festival by the Song Dynasty artist Zhang
Zeduan and the genre paintings by the Qing Dynasty artist Su
Liupeng. They were as good as playing from different repertoires
with equal virtuosity.
In the middle and late periods of his career,
Chinnery reached an artistic state in which his oil
paintings and watercolours were completed with great
facility. The sceneries of Macao, Hong Kong,
Canton (now Guangzhou) and the Pearl River
Delta captured in his works (of these periods)
overflowed with an air of freshness,
light-heartedness, gracefulness and simplicity,
which perfectly reflected the Chinese taste and atmosphere blended with the artist’s own
emotions.
George Chinnery was another western artist who made a great impact on the circles of
painting in China after Giuseppe Castiglione (1688-1766). He opened a studio on Rua de
Inácio Baptista to sell his paintings as well as gave lessons to his pupils. Among those who
were much influenced by him were Lamqua of China, Marciano António Baptista of
Portugal, Thomas Watson and William Prinsep of Britain, etc. Their works comprised a
“Chinnery school of painting” that was marked with the 19th century Zeitgeist, and produced
an extensive impact on the area of Macao, Hong Kong, Canton and the Pearl River Delta.
With an increase of tourists to China in the 19th century, there were large numbers of
paintings that were modelled on Chinnery’s style for the market.
In 1852, the second year in the reign of Emperor Xianfeng of Qing Dynasty, George
Chinnery passed away in Macao and rested forever in the Protestant Cemetery beside the
Camões Garden. His “soul of painting” has ever since coexisted with this beautiful town. His
works to us today are not simply artistic rarities, they are also invaluable historical documents
for researches into the cultural and social developments of Macao.
The works on exhibit come from collections owned by The Hongkong and Shanghai
Banking Corporation Limited, HSBC Holdings plc, Jardine Matheson Limited, Macao
Museum of Art, Macao Museum and private collectors.
T r a v e l l e r ’ s
G E O RG E C H I N N E RY
colecção da Jardine Matheson Limited
collection of Jardine Matheson Limited
E X P O S I Ç Ã O
Refúgio de Um Viajante
BY
怡和管理有限公司藏
EXHIBITION
MASTERWORKS
Sampanas rumo ao mar perto
do Forte de S. Pedro na Praia
Grande
Sampans off the St. Peter’s Fort
on the Praya Grande
eorge Chinnery (1774-1852), one of the shining stars in the resplendent
Georgian/Victorian night skies, was the pre-eminent representative of the English
fine art in the East during the 18th and 19th centuries.
Chinnery left England for the East at the age of 28 and had lived in India for 23 years
before he arrived at the inner harbour of Macao by a ship on September 29th, 1825. He had since
resided on this tiny peninsula until his final departure from this world. His evolution in his
painting artistry may be divided into three phases, viz. life in England, a trip to India and times
in South China.
In his “times in South China”, Chinnery’s paintings were clearly seen entering their
maturity. His oil paintings started to shake off the fetters from the style of the English school of
painting; and his watercolour landscapes went far beyond their original specification as
archaeological topographic maps with mere interests in architectural structures of antiquity. The
27 years in Macao allowed Chinnery to build up a deep affection for all manner of local people
and the beautiful scenery on this land. He painted and depicted with his extraordinary artistic
power and passion, which could only originate in his great fondness for Macao and his
immediate knowledge of the land from his personal experience.
As an expatriate artist,
George Chinnery was particularly
fond of the scenery along A-Ma
Temple, Senate Square, St.
Dominic’s Church, and Central
Marketplace. From there he
captured numerous live scenes of
fishing boats at the inner harbour,
bustling streets and cooked-food
stalls, and depicted barbers,
blacksmiths, hawkers, merchants,
compradors, gamblers, sedan
carriers, Tanka (boat people)
maidens and people from all
walks of life. Lifelike genre scenes
comprised a large proportion
打鐵匠 Ferreiros Blacksmiths
羅拔．布拉澤斯伉儷藏 colecção do Sr. e Sra. Robbie Brothers collection of Mr. and Mrs. Robbie Brothers
o f C h i n n e r y’ s d ra w i n g s ,
OBRAS-PRIMAS DE
南灣伯多祿炮台海面
上的舢舨
鳴謝 / Agradecimentos / Acknowledgements:
www.icm.gov.mo www.macaumuseum.gov.mo
喬
治．錢納利（George Chinnery, 1774–1852）是英國喬治/維多利亞燦爛夜空中的一顆明星，更是
十八、十九世紀英國繪畫藝術在東方的傑出代表。
錢納利中晚期的油畫、水彩畫創作可謂達到隨心所欲的藝術境界，其筆下的澳門、香港、廣州及珠江
三角洲一帶的景物均洋溢着清新、輕鬆、嫻雅和樸素的氣息，完美地再現了中國的情調的同時，又融合了畫
錢納利二十八歲離開英國來到東方，在印度住了二十三年。一八二五年九月二十九日，錢
納利乘船到達澳門內港，之後一直生活在這個小小半島之上直至與世長辭。因此，錢納利的繪畫藝術發展大
體上可分為三個時期：“英倫生活”、“印度之行”和“嶺南歲月”。
家的個人感情。
錢納利是繼郎世寧（Giuseppe Castiglione, 1688–1766）之後對中國畫壇產生另一衝擊波的西洋畫家。錢
納利在澳門鵝眉街創辦畫室，公開賣畫授徒，他的學生　呱、馬西安諾•安東尼奧•畢士達、托馬斯•屈
進入“嶺南歲月”，錢納利的繪畫技巧明顯趨向成熟，他的油畫表現開始擺脫英國學院式風格的束縛，
臣、威廉•普林斯普等分別代表了中國、葡國、英國等深受其影響的不同國籍畫家。他們的作品在澳門、香
而水彩風景畫亦超越了以古代建築為旨趣的考古學式地形畫規範，進行了另闢蹊徑的探索。二十七年的澳門
港、廣州和珠江三角洲地區產生了廣泛的迴響，形成了一個深具時代特質的錢納利畫派。十九世紀，隨著來
歲月，讓錢納利對此間各式各樣的人物和優美風景產生了深厚的感情，並借助非凡的藝術表現力加以描繪，
華旅客的增多，市場上產生了大量摹仿錢納利畫風的商品畫。
而這種感情和能力，皆源於他對澳門事物的熱愛和生活當中的切身體驗。
清咸豐二年（1852），錢納利在澳門逝世，永遠安息在澳門白鴿巢公園旁的基督教墳場。從此，他的
錢納利這位外來畫家對媽閣廟、議事亭前地、玫瑰堂和營地街市一帶的澳門景緻特別情有獨鍾。在那
裏，他大量地描繪了內港的漁舟、熱鬧的街巷及熟食檔等一幕幕現實場景，同時亦寫下了剃頭匠、打鐵工
人、小販、商人、買辦、賭徒、轎伕和蜑家妹等各階層的人物。錢納利所作的不少素描、速寫、水彩和油畫
均是充滿生活氣息的風俗畫，與宋代畫家張擇端的長卷《清明上河圖》、清代畫家蘇六朋的筆下風俗情趣不
“畫魂”永遠與這座美麗的小城共存。他的畫作如今不僅是一件件藝術珍品，且早已成為研究澳門文化及社
會變遷的重要歷史文獻。
展品選自香港上海滙豐銀行有限公司、滙豐控股有限公司、怡和管理有限公司、澳門藝術博物館、其
他多個私人藏家，以及澳門博物館藏品。
謀而合，具異曲同工之妙。
西望洋山下沿岸景緻 Cena ribeirinha no sopé do Monte da Penha Waterfront below the Penha Hill
香港上海滙豐銀行有限公司藏 colecção de The Hongkong and Shanghai Banking Corporation Limited collection of The Hongkong and Shanghai Banking Corporation Limited
從海上眺望媽閣廟
Templo de A-Ma visto do mar
A-Ma Temple from the sea
澳門博物館藏
colecção do Museu de Macau
collection of the Macao Museum
U
盧茂官肖像 Retrato de Mowqua Portrait of Mowqua
香港上海滙豐銀行有限公司藏 colecção de The Hongkong and Shanghai Banking Corporation Limited collection of The Hongkong and Shanghai Banking Corporation Limited
孟加拉河岸風光──船隻和沐浴者 Cena ribeirinha em Bengala, com barcos e banhistas Bengal river scene, with boats and bathing figures
香港上海滙豐銀行有限公司藏 colecção de The Hongkong and Shanghai Banking Corporation Limited collection of The Hongkong and Shanghai Banking Corporation Limited
ma das estrelas que brilhou nos resplandecentes céus georgiano e vitoriano foi o
proeminente artista George Chinnery (1774-1852) que trouxe a arte inglesa dos
séculos XVIII e XIX ao Oriente.
Chinnery deixou Inglaterra rumo ao Oriente quando tinha 28 anos de idade e viveu na
Índia durante 23 anos, antes de ter chegado a Macau num navio no dia 29 de Setembro de
1825. Viveu nesta pequena península até à sua morte. A sua evolução artística poderá ser
dividida em três fases: a vida em Inglaterra, uma viagem para a Índia e os tempos vividos no Sul
da China.
No “os tempos vividos no Sul da China” a obra de Chinnery atingiu a maturidade. A sua
pintura a óleo liberta-se dos entraves estilísticos da escola inglesa e as suas aguarelas ultrapassam
o mero registo histórico, topográfico ou arquitectónico. Os vinte e sete anos de vida em Macau
deram a Chinnery a oportunidade de poder apreciar os usos e costumes das gentes locais e a
beleza natural da terra. Pintou e retratou com mestria e paixão, fruto da sua profunda afeição
por Macau e do seu conhecimento de experiência feito.
Sendo um artista estrangeiro, George Chinnery foi sensível às cenas de rua junto ao
Templo de A-Ma, do Largo do Senado, da Igreja de S. Domingos e do mercado central. Captou
inúmeras cenas de barcos de pesca do porto interior, das ruas movimentadas e das tendas de
comida; retratou barbeiros, ferreiros, falcoeiros, mercadores, intermediários, jogadores,
carregadores de liteiras, barqueiras (tancareiras) e todo o género de pessoas. As cenas da vida
quotidiana ocupam uma grande parte dos desenhos, das aguarelas e das pinturas a óleo de
Chinnery. Um interesse semelhante podemos encontrar no artista da dinastia Song, Zhang
Zeduan, no longo rolo de pintura panorâmica intitulado Nas margens do rio durante a festa
Qingming e na pintura de Su Liupeng, artista da dinastia Qing. Todos eles foram intérpretes
de diferente repertórios mas igualmente virtuosos.
Nos períodos intermédio e tardio, Chinnery atingiu uma tal maturidade artística que
completava as suas pinturas a óleo e as aguarelas com muita facilidade. As cenas de Macau,
Hong Kong, Cantão (actual Guangzhou) e do delta do rio das Pérolas capturadas nas suas
obras transbordam frescura, sinceridade, graciosidade e simplicidade, o que traduz bem o
gosto e a atmosfera chinesas filtradas pelas emoções do artista.
George Chinnery foi um artista que deixou marcas na pintura chinesa depois de
Giuseppe Castiglione (1688-1766). No seu estúdio da Rua de Inácio Baptista vendeu
quadros e ensinou alguns alunos. Entre os pintores mais influenciados por ele contam-se o
chinês Lamqua, o português Marciano António Baptista, os ingleses Thomas Watson e
William Prinsep, entre outros. O conjunto das suas obras forma uma espécie de “escola de
pintura Chinnery” marcada pelo espírito do século XIX e que produziu grande impacto na
região do delta do rio das Pérolas, nomeadamente em Macau, Hong Kong e Cantão. Ao
longo do século XIX, o número de visitantes que foi chegando à China provocou um
incremento na produção de pinturas ao estilo de Chinnery.
Em 1852, no segundo ano do reinado do imperador
Xianfeng da dinastia Qing, morreu, em Macau, George
Chinnery, estando sepultado no Cemitério Protestante,
junto ao jardim Camões. A sua “alma de pintor” ficou
sempre ligada a esta bela cidade. A sua obra, para nós,
hoje em dia, não é apenas uma mera raridade
artística mas também um documento histórico
útil para os estudiosos do desenvolvimento
cultural e social de Macau.
As obras em exposição provêm de
colecções propriedade do The Hongkong and
Shanghai Banking Corporation Limited,
HSBC Holdings plc, Jardine Matheson
Limited, Museu de Arte de Macau, Museu de
Macau e coleccionadores privados.