The Japanese Impact on the Republican Art World: The Construction of Chinese Art History as a Modern Field

2006 ◽  
Vol 32 (1) ◽  
pp. 4-35 ◽  
Author(s):  
Julia F. Andrews ◽  
Kuiyi Shen
Keyword(s):  
Art History ◽  
Chinese Art ◽  
Art World

BREAKING THE INK – ABSTRACT INK ART IN MAINLAND CHINA

2021 ◽  
Author(s):  
Daniela Zhang Cziráková
Keyword(s):  
Art History ◽  
Mainland China ◽  
High Standard ◽  
Abstract Art ◽  
Chinese Art ◽  
Art World ◽  
New Wave ◽  
Abstract Painting ◽  
Avant Garde ◽  
The 1960S

Chinese art is mostly presented at foreign exhibitions from a different perspective and abstraction is represented modestly or completely absent. However, abstract art, which to a greater or lesser extent based on the roots of Chinese semi-abstract tradition, finds its firm place in the works of Chinese artists in different countries or regions. After giving a fundamental analysis of the possible inspiration for abstract ink painting from Chinese art history, and modernist art movements in Taiwan and Hong Kong during the 1960s, which had a significant influence on the formation of modernism in mainland China, and the historical overview of Chinese avant-garde, such as the 85 New Wave, the author focusses on abstract ink art in mainland China. As far as the situation in abstract painting is concerned, all important movements, exhibitions are preceded chronologically. Artists' opinions on abstract painting, their contradictions and the questions that this work raises, are observed, too. Abstract ink painting began to develop with the influx of ideas of modernism in the 1980s, and it was in important factor during the movement of Experimental ink and wash movement in the 1990s and the first decade of the 21st century. This movement has organised exhibitions, conferences, publishes catalogues dedicated to the work of its representatives. Then the attention turns to other movements and individual artists devoted to abstract ink art. Some of the artists come to a greater extent from tradition; others try to escape the limitations of ink painting, more or less adhere to traditional Chinese art or calligraphic strokes and techniques. Some of them are more influenced by Western techniques or are attempting to synthesise. What is essential is that they create works that are often of a high standard and in their search, open new ways for Chinese ink painting in general. Special attention deserves the artists standing at the birth of the movement and to those who have so far significantly influenced the whole atmosphere in Chinese art world.

Ranking Artists: An Internet-Era Analysis

Leonardo ◽  
2019 ◽  
Vol 52 (2) ◽  
pp. 135-145
Author(s):  
Alan B. Oppenheimer
Keyword(s):  
Art History ◽  
Alternative Methods ◽  
The Internet ◽  
Art World ◽  
Traditional Art ◽  
Ranked List

To provide guidance to the vastly expanded, uncurated art world made available through the Internet, the author developed a methodology for objectively and repeatably rating artists. He then applied that methodology to Western painters in particular, creating a ranked list of the significance of nearly 10,000 of those painters. Analyzing the process, he observed that the Internet not only greatly broadens access to art but also provides the tools needed to curate that access in a meaningful, scientific manner. The analysis also exposes questions about both the methods used and more traditional art history sources, which can be explored through alternative methods.

Interpretation of Li Gonglin Ecological View of Landscape Painting Based on Chinese Soil Smoke Culture

2021 ◽  
Vol 7 (5) ◽  
pp. 3344-3351
Author(s):  
Xinquan Ma ◽  
Xiaofang Yao ◽  
Kwon Hwan
Keyword(s):  
Art History ◽  
Song Dynasty ◽  
Global Perspective ◽  
Chinese Art ◽  
Landscape Painting ◽  
Environmental Aesthetics ◽  
Northern Song Dynasty ◽  
Modern Cities ◽  
Northern Song ◽  
The Aesthetic

Objectives: Cigarettes are not goods that have existed in China since ancient times, but consumer goods that were introduced into China by western countries and accepted and developed by Chinese people in modern times. The application of Chinese soil smoke culture in Li gonglin’s landscape painting is studied in this paper. Methods: From the perspective of art history, landscape painters in the Northern Song Dynasty, as a prosperous period of Chinese art history landscape painting, thought deeply about painting from the artistic form of nature, and integrated their own view of environment into their creation, forming many landscape aesthetic paradigms. Results: This paper focuses on the interactive dialogue between the literati and the environment with the involvement of how space planning and governance are allocated. It is aimed at the global perspective in the Anthropocene and a local position in the Northern Song Dynasty. Localization is not only the exploration of the ecological approaches of China and the West in space, but also the integration of the past and the present, observing its ecological image from the perception and practice of traditional environmental aesthetics to the harmonious coexistence of modern cities and nature. Conclusion: Local tobacco is not a traditional local consumer product. Under the public’s praise, it has gradually formed a unique thing in China - cigarette culture. People in the society are not only the observers of the environment, but also the participants of the environment. Through the aesthetic configuration of the classification of environmental belonging space and the transformation of the image and vision into such realistic or ideal landscapes as “Longmian Villa”, it goes towards ecological holism. Therefore, from the perspective of environmental aesthetics research, Li Gonglin’s paintings have research value.

Who (or What) is an AI Artist?

Leonardo ◽  
2021 ◽  
pp. 1-9
Author(s):  
Kieran Browne
Keyword(s):  
Contemporary Art ◽  
Art History ◽  
Art Market ◽  
Art World ◽  
Significant Disagreement ◽  
History And Theory

Abstract The mainstream contemporary art world is suddenly showing interest in “AI art”. While this has enlivened the practice, there remains significant disagreement over who or what actually deserves to be called an “AI artist”. This article examines several claimants to the term and grounds these in art history and theory. It addresses the controversial elevation of some artists over others and accounts for these choices, arguing that the art market alienates AI artists from their work. Finally, it proposes that AI art's interactions with art institutions have not promoted new creative possibilities but have instead reinforced conservative forms and aesthetics.

Art and Communication: A Look to the Art Market

2021 ◽  
Vol 5 (2) ◽  
pp. 47-64
Author(s):  
Adria Harillo Pla
Keyword(s):  
Social Environment ◽  
Art History ◽  
Social System ◽  
Economic Sociology ◽  
Art Market ◽  
Communication Model ◽  
Art World ◽  
Human Group ◽  
The Public ◽  
Pragmatic Knowledge

This text presents a communicative model in the art market as well as its importance compared to the traditional communication model analysed from Art History. To achieve this, we expose the lack of solid criteria when defining what art is. Subsequently, we defend that the Sociology of Language allows us to obtain a referential and pragmatic knowledge of what a community calls art. As we will say, this lan-guage is produced through money, and that is why Economic Sociology plays a key role. Understanding that “art” is something named like this in a social environment with its agents, motivations and mecha-nisms, we defend that the art market - as a small part of the art world - is a tool of great informative value. This is because it allows to see what a human group refers to as “art”. This is possible thanks to the use of a shared code (money). Through money, some agents can express their preferences in that context, acting as senders. The market plays the channel role and, the public acts as the receiver. The preferences shown through money by some agents within that social system gives to the community some referential and pragmatic knowledge while allowing us to allocate that scarce resource named “art”.

Screening the Art World

2022 ◽  
Author(s):  
Temenuga Trifonova
Keyword(s):  
Cultural Capital ◽  
Art History ◽  
Art World ◽  
The Relationship ◽  
Historical Periods

Unlike most studies of the relationship between cinema and art, which privilege questions of medium or institutional specificity and intermediality, Screening the Art World explores the ways in which artists and the art world more generally have been represented in cinema. Contributors address a rarely explored subject -art in cinema, rather than the art of cinema - by considering films across genres, historical periods and national cinemas in order to reflect on cinema’s fluctuating imaginary of ‘art’ and ‘the art world’. The book examines the intersection of art history with history in cinema, cinema’s simultaneous affirmation and denigration of the idea of art as ‘truth’ and what this means for cinema’s understanding of itself, the dominant, often contradictory ways in which artists have been represented on screen, and cinematic representations of the art world’s tenuous position between commercial good and cultural capital.

Pan Tianshou [潘天壽] (1897–1971)

2018 ◽  
Author(s):  
Yao Wu
Keyword(s):  
20Th Century ◽  
Cultural Revolution ◽  
Art History ◽  
Chinese Art ◽  
Art Teacher ◽  
Republic Of China ◽  
Dynamic Landscape ◽  
New Nation ◽  
Artistic Heritage ◽  
Distinct Separation

Pan Tianshou was a 20th-century Chinese painter, calligrapher, and art teacher. A dedicated advocate of guohua [國畫], he is highly esteemed for his dynamic landscape and bird-and-flower paintings imbued with a literati aesthetic. Tianshou argued for a distinct separation between Chinese and Western painting, wrote extensively on Chinese art history and theory, and devoted himself to the proliferation and education of China’s artistic heritage. He directed guohua instruction at the national art academy in Hangzhou from its founding in 1928, and was associated with the school until the time of his death. Pan’s paintings are known for their bold composition, his vigorous application of brushstrokes and ink splashes, tonal variation, his occasional use of fingers as an unmediated medium, and poetic inscriptions executed in refined calligraphy. After the establishment of the People’s Republic of China in 1949, Pan went on government-sponsored sketching expeditions, while also creating an immense range of public artworks that glorified the beauty of the new nation. Pan was severely persecuted shortly after the onset of the Cultural Revolution (1966–1976), however, and died in 1971.

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