Christian Madonna with Child

Chinese scholars believed the European style paintings may have been introduced by Catholic missionaries. A number of Chinese paintings during the late Ming and early Qing period have Christian or Catholic elements. When Laufer was on the Jacob H. Schiff Expedition (1901), he was able to collect ancient pottery, bronzes, and other cultural objects (about 7500 pieces) in China. Many of the objects he collected emphasize European style art. Laufer was able to collect multiple scrolls created between the Ming and Qing dynasties.

CHristian madonna with child

During his trip to China in 1901, Berthold Laufer was looking for historical Chinese artifacts. Berthold Laufer wrote about his experience and published it in ‘The Open Court’ journal. His primary goal was to search for evidence of Christianity in particular regions. He had come across two scrolls that were painted in divine watercolors. Interestingly, Laufer stated they came from the Jesuit school of artists that were associated with the Chinese emperors during the 18th century (Laufer,1,1912). Madonnas are representations of the Virgin Mary that derive from Christianity. The paintings had similar backgrounds that showcase palace buildings. The style and technique were based on Italian Renaissance works. Paintings that depicted Christianity in China started as early as the mid 1500’s.

During the Blackstone Chinese and Tibetan Expedition, Laufer discovered the Chinese Madonna in Xian. He was traveling through towns to collect historical objects that were significant to Chinese culture. While Laufer was visiting the mansion of an elite official in Xian, he came across a painting of a Madonna holding a boy in her arms (Chen, 92-93, 2018). It piqued Laufer’s interest because it replicated a few well-known figures. However, there remains debate about whether it depicts the Christian Madonna with Child, the East Asian bodhisattva Guanyin, or a combination of both (Kelly, 2018). The painting had Chinese features in it, so it was difficult to make a correct interpretation.

One of the most important messages the painting conveys is that there was Christianity within the Chinese culture. Laufer noted when he first laid eyes on the Madonna painting that it was in Byzantine style (Dong, 347, 2016). He was determined to know why it was created under a different religious system in China. During his expedition in 1910, Laufer had established many relationships with Chinese scholars and experts. They believed it could have been created during the late Ming period (1368-1644).

Laufer was a perfectionist, and he wanted to know exactly when and who created the painting. Because he had many connections with different people, he took it over to the Franciscans in Xian. The bishop, Monseigneur Gabriel Maurice, had never seen another painting just like it during his stay in the city. After discussing the painting, it was concluded that it was made by a Chinese artist in the Wan-li period (1573-1620) of the Ming dynasty. It was a time when Matteo Ricci, an Italian Jesuit priest, first entered into the Chinese territory. Laufer said that the painting was re-mounted on silk possibly a year before he possessed it.

A white spot in the painting had two Chinese characters that read a name. The two Chinese characters read “T’ang-yin.” Laufer knew that he was a Chinese painter, scholar and poet of the Ming period. Laufer recognized his signature because he owned other art pieces by him. Laufer thought his signature on the painting was forged because of the condition of it. It seemed as if an artist was trying to copy the signature (Laufer,3,1912). He discussed how T’ang-yin could have not painted it because in his time there were not any indications of Christianity. After discussing with his colleagues, they agreed he should discuss the painting with the official who kept the painting (Laufer,3-4,1912). The official agreed that upon looking at the signature, it was signed at a later date. He was confused about how it came about. It was passed down for about six generations in his family (back to the eighteenth century) and the signature had always been there. The signature must have been added to the painting before it came to his family’s possession.

After a full investigation on the scroll, Laufer believed it was not an act of purposeful forgery. The signature was done purposely to secure protection of the painting. During the rule of the Yongzheng emperor (1723-1735), Christians were persecuted and there were anti-foreign conflicts. Chinese residents were forbidden to practice Christianity. Any pieces of literature or artwork that may have represented Christianity were annihilated (Laufer,5,1912). Sadly, only a few pieces were able to survive and be passed down from generation to generation. Interestingly, parts of the scroll paintings had been cut out and things were added. In this situation, the head of the Madonna with Chinese features was later added. The original head of the Lady Madonna may have included European facial features.

The name of the original painter is still unknown, but they may have created it during the end of the sixteenth century. It was probably inserted during that time, but the Wan-li period was a dangerous time of Catholic propaganda. Although it remained a mystery, Laufer wanted to incorporate it into his collection.

REPRODUCTIONS AND DEBATES-christian madonna with child

ROMAN MADONNA (SALUS POPULI ROMANI)

(Li, 348, 2020)

Laufer was aware that there had been trade between the West and China for centuries. Many pieces of art, history, materials, objects, and traditions were shared. He was determined to know who the painter of the Chinese Madonna was. Laufer discussed with colleagues that were professional historians, Chinese scholars and elites. The Chinese Madonna painting was probably a reproduction of the Roman Madonna that was imported to China by Matteo Ricci in the 16th century (Dong, 448-349,2016). He was a resident in China for thirty years and preached in small towns. He would showcase images of the Virgin, Jesus, the Saints, the Cross, and other Christian symbols. Over time, a few famous artists were influenced to mix Chinese culture and Christianity in their art.

GUANYIN - BUDDIST BODHISATTVA

The scroll has brought debate whether it represents the Madonna and Child or if it was meant to fool authorities as being a representation of Guanyin. The figure of Guanyin represents the Buddist bodhisattva that is associated with care/ empathy (Gehrmann, 2021). The title of “goddess of Mercy” came from Jesuit missionaries. An important symbol the Guanyin represents is fertility, so it caused debate about the meaning of the painting. A variety of representations have been made for the paintings and created scholarly discussion. Many different reproductions of the Lady Madonna were done in oil and silk painting in preference to religions and cultures.