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公元17、18世纪,正值中国最后一个王朝清朝的康熙(1662～1722年)、雍正(1723～1735年)、乾隆(1736～1795年)三个皇帝在位期间。从美术史的角度来看,在这一百多年的时间里,正是中国和欧洲美术频繁交流的高峰时期。在此之前的明朝末年,欧洲基督教属下的宗教组织耶稣会,就不间断地派遣传教士来中国传播宗教。为了传教的需要,一些传教士来华时携带了天主像、圣母像等美术作品,并且在教堂内展示,引起了中国学者和画家的注意。比如清初的美术史家姜绍书在其所著的《无声史诗》一书中写道:“利玛窦携来西域天主像,乃女人抱一婴儿,眉目
In the 17th and 18th centuries AD, it coincided with the reign of Emperor Kangxi (1662 ~ 1722), Yong Zheng (1723 ~ 1735) and Qianlong (1736 ~ 1795) during the reign of the last dynasty of China. From the perspective of art history, during this hundred years, it is the peak of frequent exchanges between Chinese and European fine arts. Prior to the Ming dynasty, the Jesuits, a religious organization under the European Christianity, continually dispatched missionaries to China to spread religion. In order to meet the needs of mission, some missionaries came to China to bring art works such as the image of God and Madonna as well as displaying them inside the church, arousing the attention of Chinese scholars and painters. For example, in the early Qing Dynasty, art historian Jiang Shaoshu wrote in his book The Voiceless Epic: "Ricci brought the image of God in the Western Regions,