We recently spoke with fellow Member Mr James Chang and his daughter, Ms Stella Chang, who shared with us his trove of vintage commercial paintings from China. Many of his paintings were purchased in Shanghai, China around 1995 from street vendors, who sourced them from families who kept these old paintings for profits. As collectors’ interest in these paintings grew, especially among the Taiwanese, these authentic paintings slowly disappeared from stores, and many counterfeits surfaced.

We recently spoke with fellow Member Mr James Chang and his daughter, Ms Stella Chang, who shared with us his trove of vintage commercial paintings from China. Many of his paintings were purchased in Shanghai, China around 1995 from street vendors, who sourced them from families who kept these old paintings for profits. As collectors’ interest in these paintings grew, especially among the Taiwanese, these authentic paintings slowly disappeared from stores, and many counterfeits surfaced.

These paintings were commercials, and were first printed in the early 1900s, when China was still under imperial rule. This form of art is commonly known as ‘Shanghai Calendar Art’. All the studios producing this art were in Shanghai. The names of the production studios are printed on every commercial; the most famous was “Hang Xu Ying Studio”. These paintings signify the start of modernisation in China, and you can see through the fashion and hairstyles of the women depicted in these paintings the change of the times. What triggered this change was the introduction of Hollywood cinema. This was during the Golden Age of Hollywood, when Rita Hayworth was the poster girl. You can see echoes of Rita, especially in the hairstyles of the ladies in the paintings.

How were these old commercials preserved for so many years? In those times, these commercials were posters or part of calendars, and were meant to be somewhat disposable. They were printed on “modern” paper, which means that acids were involved in the production. This made the paper much easier and cheaper to produce, but unlike the old rice papers that most Chinese paintings and calligraphy used, they were not meant to last very long. Nevertheless, in addition to being wall posters and calendars, the people of that time found that they made excellent drawer and chest liners. Due to the cool dry conditions the chests were often kept in, these commercials were preserved in excellent condition. Antique dealers in China went to the countryside to search for these chests that were left over from the Cultural Revolution, and discovered these commercials deep within.

Dated 1913

This is the oldest painting in Mr Chang’s collection, dated 1913. This was one of the first commercials by the Taikoo Hong Group, now more famously known as Swire in Hong Kong, owning an airline (Cathay Pacific), hotels (Upper House in Hong Kong), and many restaurants.

This was still around imperial time, as the women in the picture were illustrated with bound feet, which were considered very fashionable then; however, they were banned a few years after China became a republic.

The hairstyles in the painting are very traditional, with just a low bun for the women, and long queues for the men, showing that they were still under imperial rule. The fashion depicted is also very traditional, with straight cut robes for both genders. The background is also crucial in this commercial, where a huge portion of the image is dedicated to the background, as per traditional Chinese painting. However, as we get into the 1920s and 1930s, the person becomes the focal point, similar to Western paintings, and the background is kept very simple.

Dated early 1920s

The painting style of this period, the early 1920s, is still very classical, with more muted colours, and thinner lines. You can also see quite a detailed backdrop, although it had been significantly simplified, compared to the one from 1913. The lady featured in this commercial is also posed in a very demure fashion, with a Chinese flute. During this time period, the popular hairstyle is to have a small patch of wispy fringe, and to have hair coiled around the ears in braids. The dress has large bell sleeves, and is of a much lighter fabric than what you can see from the 1913 painting, but still has a very straight cut and is drapey; it does not show the figure at all.

One interesting thing to note about the ladies featured in these commercials is that these may not be ladies at all. During this time, it was considered highly improper for Chinese ladies to pose for an artwork that would be shown in public. Therefore, the models that sat for these portraits were, in fact, men. This practice carried on to the 1930s, but by then, there were some popular models who were female as well, following the popularity of Hollywood films.

Dated late 1920s to very early 1930s

This painting reveals a drastic step towards modernism. This was the beginning of the “New Life” Campaign started by Chiang Kai Sheik and Song Mei Ling. You can see the in-between artistic styling of the commercials. Gone are the elaborate backdrops, and this commercial features the lady as the focus. However, the painting still has the traditional calligraphy at the sides. What is most significant in this commercial is the addition of Western dress. The coat the lady is wearing is completely Western, and thus, very trendy. She is also holding a pet, and has flowers near her face – another nod to Western portraiture.

Dated mid-1930s – German Dye commercial

This is a “Happy Lady – German Dye” commercial. Here, you see a significant change in the commercials as China was then catapulted into modern times. Between the 1920s and 1930s, there was a social revolution as China opened its doors to embrace Western ideology.

This commercial was the quintessence of what a modern lady should look like – beautifully styled wavy hair, just like the Hollywood starlets, ropes of pearls around her neck, a la Chanel, and a very form-fitting qi pao with elongated legs, as this was then the fashionable body type of the day. Even the make-up was immaculate, with Western-style red lips. If you pay attention to the backdrop, you will notice that it is very plain.

The commercial reads, “Why is the happy lady so happy? It is because she has discovered the German Dye company. Producing high quality dyes that do not run!”

Dated mid-1930s – Cigarette commercial

This is the epitome of the contemporary commercials in Shanghai, after the “New Life” Campaign started. This lady is languishing in a row boat. There is no one else in the boat, so she is expected to row it herself. This was the first time women in China were actively portrayed doing physical sports. However, the indication of sports ends right there. Her hair is exactly the style of Rita Hayworth, as is her make-up. She wears a very modern qi pao, form-fitting with a high slit. She also wears high heels. Again, you can see the indication of Western portraiture with the lady as the focus, as well as the flowers beside her face.

One of the most popular and prolific commercials in China at this time were cigarette commercials. Smoking cigarettes, just like it is still depicted in Hollywood movies, had become extremely fashionable, and everybody smoked.

Late 1930s – “New Life” Campaign

In this painting, the imitator had not only equalled the original, but surpassed it. These two ladies in swimsuits would be considered risqué, not just in China, but in Hollywood as well. Revealing their midriff and thighs, represents how far, in such a short time, China had charged into the modern and Western world. Again, sports come into focus, with swimming being the sport indicated in this commercial.

On a darker note, these portrayals of the “modernisation” of China, stopped right around this time in the late 1930s, when Japan invaded China, starting the Second World War. The Cultural Revolution, which subsequently started in 1966, brought about a complete reversal of ideals from the 1930s.