scholarly journals Inheritance and development of national elements in contemporary Chinese, American and Russian oil paintings

2021 ◽  
Vol 5 (S2) ◽  
pp. 1-15
Author(s):  
Guangyu Yang
Keyword(s):  
Visual Art ◽  
Chinese Painting ◽  
Artistic Development ◽  
Practical Application ◽  
Image Perception ◽  
World Semantic ◽  
Oil Painting ◽  
Oil Paintings ◽  
Creation Spirituality ◽  
Contemporary Chinese

When speaking of semiosis of the visual art it is worth noting that it can be considered also in the aspect of semantics, which studies relation of sign elements to the world. Semantic side of an image is related to theory of art content, meaning of creation, spirituality, in particular, the symbol theory. Together with forming the idea of painting as a source of literature data and accordingly understanding of a painting in traditional literature paradigm as source of learning the outside world. The authors of the article demonstrate solidarity of oil painting in the stylistic understanding of the integrity of the image perception through the method of knowledge. In particular, the connection between figurativeness and semeiotics, which arises in the process of painting learning on the basis of literature researching and forming of artistic taste. In the article, it is shown that development of figurativeness in art should be based on art methods, in which literature is defined. Authors clarify that this is the main difference between Chinese painting and similar cultural forms. Practical application of research may be: to form educational programs and develop in integral image of artistic development. 

scholarly journals Traditions of the Tibe­tan New Year’s Festival in Contemporary Chinese Painting: Pan Shixun and Ye Xingsheng

2020 ◽  
Vol 17 (2) ◽  
pp. 214-223
Author(s):  
Meng Die Li
Keyword(s):  
National Culture ◽  
Chinese Painting ◽  
Intangible Cultural Heritage ◽  
Religious Art ◽  
Oil Painting ◽  
Modern Times ◽  
The Past ◽  
History Of ◽  
Contemporary Chinese ◽  
Cultural Features

The article is devoted to the tradition of the Tibetan New Year celebration reflected in contemporary Chinese oil painting. The article’s purpose is to study the cultural features of the Tibetan New Year, on the example of works of the two Chinese artists: Pan Shixun and Ye Xingsheng, and to analyze the degree of art’s influence on the preservation of intangible cultural heritage. Chinese painting contributes to the unity of traditions of the past and present, as well as the integration of classical and contemporary elements in the technique of modern times. In their works, the masters, using elements of classical Chinese, Western and Tibetan painting, conveyed unique features of the national culture and history of Tibet. The work systematizes the complex of customs and religious rites, traditional costumes and treats of the Tibetan New Year festival. The artists’ works are considered as a mechanism for transmitting traditional Tibetan folk and religious art.

scholarly journals temporal spirit, expressiveness and nationality of contemporary Chinese painting

2021 ◽  
Vol 5 (S2) ◽  
pp. 472-486
Author(s):  
Guangyu Yang
Keyword(s):  
20Th Century ◽  
19Th Century ◽  
Great Influence ◽  
Fine Art ◽  
Chinese Painting ◽  
Oil Painting ◽  
Russian School ◽  
The 19Th Century ◽  
Contemporary Chinese

The relevance of the study is determined by the fact that China, like Japan, took oil painting relatively recently. Japan became closely acquainted with Western technology in the 19th century, but at that time they still imposed a taboo on oil painting, the authorities in every way prevented its spread, protecting the traditions of national art. Only the 20th century allowed new trends to finally settle down. The work shows that the understanding of the European painting technology was widely represented in the imperial Celestial Empire. The article shows that the artists did not make a big problem to learn painting skills from the Europeans (originally the Portuguese). They learned the lessons, techniques and technology of European art, despite the fact that they had never had a similar school before. Separately, it is stipulated that cooperation after the formation of the USSR played a great influence on contemporary paintings. This explains the fact that many paintings by Chinese painters are very similar to Russian school of fine art. The authors determine that the Russian style, fully perceived by the PRC, was formed collectively from the Renaissance approach, with the inclusion of impressionism motifs.

scholarly journals Contemporary Chinese Oil Painting Between Iconography and Iconology: A Case Study from the People’s Republic of China’s 60th Anniversary Exhibition

2014 ◽  
Vol 5 (1) ◽  
pp. 1-22
Author(s):  
Caterina Egenhöfer
Keyword(s):  
Chinese Painting ◽  
60Th Anniversary ◽  
Oil Painting ◽  
Republic Of China ◽  
Oil Paintings ◽  
The People ◽  
National Spirit ◽  
The Media ◽  
Set Up ◽  
Historical Issues

Abstract This paper seeks to analyse the iconographic and iconological significance of the 2009 exhibition Art Project concerning Important Historical Issues of the Country (Guójiā zhòngdà lìshǐ tícái měishù chuàngzuò gōngchéng). The exhibition was set up on the occasion of the 60th anniversary of the People’s Republic of China and was part of a series of cultural, artistic and literary activities at that time. Created and promoted by the Ministry of Finance, Culture and Propaganda, the exhibition set out the artists’ mission as the presentation of the great history and ‘great national spirit’ (wěidà mínzú jīngshén) of the people of China and ‘the cultivation and spreading of the national spirit’ (péiyǎng hé hóngyáng mínzú jīngshén). This was realised through the media of oil painting, sculpture and traditional Chinese painting, with oil paintings, as the traditional tool of representation, taking up the biggest part of the exhibition. Based on Erwin Panofsky’s arthistorical method of the three-stage model, the text explores and displays the iconographical and iconological meaning of one representative painting: The March of the Volunteers.

scholarly journals ІМПРЕСІОНІСТИЧНІ ТЕНДЕНЦІЇ В КИТАЙСЬКОМУ ОЛІЙНОМУ ЖИВОПИСУ ПЕРШОЇ ПОЛОВИНИ XX СТОЛІТТЯ

2020 ◽  
pp. 55-65
Author(s):  
М. М. Ковальова ◽  
Цю Чжуанюй
Keyword(s):  
20Th Century ◽  
Fine Arts ◽  
Practical Significance ◽  
Chinese Painting ◽  
Chinese Art ◽  
Still Life ◽  
Oil Painting ◽  
Study Results ◽  
Contemporary Chinese

The purpose of the article is to reveal the impressionistic  trends  in  the  fine  arts  of China,  determining  the  originality  of  the Chinese  oil  painting  development  of  the 20th century. Methodology.  Historical  and  cultural, comparative,  iconographic  and iconological  methods  are  used  in  the study. Results.  The  study  examines  the underinvestigated  aspects  of  Chinese painting  development  in  the  first  half  of the  20th  century.  The  retrospective analysis of the pictural art enables tracing the  traditions  and  innovations  in  the formation  of  oil  painting  in  China,  which prevails  at  this  historical  stage  of  the national  art  school  development.  The desire  of  Chinese  artists  to  preserve  the philosophical  foundation  and  theoretical principles  of  classical  ink  painting,  and  at the  same  time  an  interest  in Impressionism,  have  become  a  peculiar feature  of  Chinese  oil  painting.  The  main trends, dominating at the beginning of the century,  persist  to  this  day, defining  the development  of  Chinese  oil  painting  in general.  It  is  determined  that  the decorativeness  and  thematic  repertoire  of classical  Chinese  ink  art  has  been transferred to oil painting, as evidenced by the  booming  exhibition  activities.  The study  determined  that  in  the  first  half  of the 20th century, the impressionistic trend was spread in the country, which resulted from  the  study  of  Japanese  and  French masters by Chinese masters. The teaching methods  and  stylistic  searches  of  Chinese artists  of  the  period  under  study  became the  foundation  of  contemporary  Chinese art.  The  latest  trends  in  Chinese  oil painting in the first half of the 20th century are: an artistic rethinking, reminiscences of a  similar  phenomenon  in  Western European  painting  of  the  late  XIX  –  early XX  century.  The  spread  of  impressionism contributed  to  the  greatest  development of still life and landscape genres, and also brought  plein  air  practice  to  a  new  level. Many  Chinese  artists  spread impressionistic  ideas  not  only  in  artistic creation,  but  also  in  art  history. The  scientific  novelty  lies  in  the systematization  and  factual  material analysis  on  this  problem,  determining  the role  of  the  impressionist  trend  in  the Chinese oil painting development. Practical  significance.  The  results  of  the study can be used in further studies of the history  and  theory  of  Oriental  art  of  the 20th century.

scholarly journals A Preliminary Study on the Intervention of Western Oil Painting Creation Imagery in College Art Teaching

2021 ◽  
Vol 9 (4) ◽  
Author(s):  
Xiangying Mo
Keyword(s):  
Modern Technology ◽  
Chinese Painting ◽  
Growing Up ◽  
Oil Painting ◽  
Artistic Style ◽  
Oil Paintings ◽  
Works Of Art ◽  
Art Teaching ◽  
Correct Direction ◽  
The Creation

With the development progress of modern technology and the continuous improvement of culture, each of us has become more tolerant of artistic expressions. Nowadays, the ways of expression in painting have become more diverse, different ways of expression in painting will converge with each other. Everyone is familiar with oil painting. It is a form of painting that originated in the West. In the process of growing up in our country for more than 100 years, the creation of oil paintings in university art education also has very significant characteristics. This has also determined a correct direction for the formation of the artistic style of the students in the future and laid a very good foundation. So how do we combine the creative image of Western oil paintings and guide students correctly in oil painting creation is very important. Based on my many years of teaching creation experience, I’d like to introduce the preliminary explorations in the following aspects of teaching, hoping to provide very good guidance for the majority of teachers and friends. We all know that the creation of works of art is a very high goal of art study, all the purpose is to make works of art and paintings with ideas come out. Then, this article will start with the enthusiasm of Western oil painting and traditional Chinese painting, it will conduct certain research and exploration of western oil painting creation image entering college art teaching.

scholarly journals Expressionism in European and Chinese painting (late XIX – early XXI centuries)

2020 ◽  
pp. 27-46
Author(s):  
Jitai Wang
Keyword(s):  
Comparative Analysis ◽  
Mutual Influence ◽  
Cultural Factors ◽  
Chinese Painting ◽  
Oil Painting ◽  
New Concepts ◽  
Similarities And Differences ◽  
The Individual ◽  
The Impact

This article examines the impact of Chinese traditional painting upon the formation of Western expressionism, as well as interprets the influence of Western expressionism upon Chinese painting in expressionist manner of different periods. The author reveals the mutual influence, similarities and differences between Western expressionism and Chinese painting in expressionist manner, Chinese imagery oil painting, Chinese colored ink painting, and Chinese imagery painting in Western style. Based on correlation between the spiritual ideology of painting and artistic form, the author carries out a comparative analysis of spiritual and formal factors of Chinese and Western painting systems for the purpose of determination of their mutual influence, and how it affects the emergence of new concepts in painting. The structure of brush stroke of the artist defines his aesthetic spirit. The article determines the “cyclic” nature of interinfluence processes between Chinese and Western painting systems that stimulate the development of human civilization. The analysis of corresponding cultural factors allows assessing the individual artistic characteristics of painting. Both, Chinese and Western painting systems entered the period when spiritual ideology of painting interacts with the artistic forms, opening the era of “globalization” of the language of painting.

scholarly journals Translanguaging and visuality: Translingual practices in literary art

2015 ◽  
Vol 6 (4) ◽  
pp. 441-465 ◽  
Author(s):  
Tong-King Lee
Keyword(s):  
Visual Art ◽  
Biblical Text ◽  
Turn On ◽  
Critical Engagement ◽  
Literary Art ◽  
Xu Bing ◽  
Contemporary Chinese

AbstractTranslanguaging is a resource for linguistic creativity in communication and for critical engagement with one’s sociolinguistic or sociocultural reality. This article examines how translanguaging operates in two visual art installations by the contemporary Chinese artist Xu Bing. Square Word Calligraphy takes a visual turn on translanguaging by inventing a hybrid calligraphy that incorporates English words into the orthographic frame of Chinese. By physically tracing the alphabet through the character, viewers gain an embodied translingual experience, which encompasses an intercultural imaginary negotiating and transcending the English-Chinese divide. By contrast, Post Testament demonstrates an intralingual mode of translanguaging, whereby a biblical text is inflected with heterogeneous registers and rendered ineffectual as coherent discourse. Here the encounter and intertwining of text registers create a transformative space replete with ambiguity and mayhem. In these radical works of language art, translanguaging delineates borders while simultaneously interrogating them, creating liminal zones and articulating a politics of (mis)recognition, (un)readability, and (in)communicability.

scholarly journals What is a ‘Good’ Copy of Edvard Munch’s Painting? Painting Reproductions on Display

2017 ◽  
Vol 9 (1) ◽  
pp. 38-61
Author(s):  
Joanna Iranowska
Keyword(s):  
Time Perspective ◽  
Primary Concern ◽  
National Gallery ◽  
Ethical Aspects ◽  
Structured Interviews ◽  
Oil Painting ◽  
The Public ◽  
Oil Paintings ◽  
Good Reproduction ◽  
Museum Educators

Paintings in museums might occasionally be replaced by a photoprint mimicking the original. This article is an investigation of what constitutes a good reproduction of an artwork (oil painting) that is meant to be displayed. The article discusses what the usefulness of reproductions depends on, applying the Valuation Studies approach, which means the primary concern is with the practice of valuing itself. In other words, the study focuses on how museum experts evaluate reproduc-tions of oil paintings. The article analyses three cases of displaying digitally prin-ted copies of Edvard Munch’s oil paintings between 2013 and 2015 in the Munch Museum and in the National Gallery in Oslo. The study is based on a series of semi-structured interviews with the experts, working at and for the museums, that were involved in producing and exhibiting of the photoprints: curators, con-servators, museum educators, and external manufacturers. The interviews were grouped into five clusters, which I have chosen to call registers of valuing following Frank Heuts and Annemarie Mol (2013). The described valuation practices have to do with delivering experiences to the public, obtaining mimetic resemblance, solving ethical aspects, exhibitions’ budget, and last but not least, with the time perspective.

scholarly journals Study on the Characteristics of Materials and Manufacturing Techniques for the Mural Paintings in Daeunjeon at Ssanggyesa Temple, Jindo

2021 ◽  
Vol 37 (6) ◽  
pp. 701-711
Author(s):  
Na Ra Lee ◽  
Yeong Gyeong Yu ◽  
Hwa Soo Lee
Keyword(s):  
Paint Layer ◽  
Particle Size Analysis ◽  
Size Analysis ◽  
Oil Painting ◽  
Oil Paintings ◽  
Drying Oil ◽  
Painting Technique ◽  
Mural Paintings ◽  
Manufacturing Techniques ◽  
Typical Soil

This study identifies the structure and material characteristics of the mural paintings in Daeungjeon at Ssanggyesa temple in Jindo by conducting scientific research and analysis including microscope examination, SEM-EDS, XRD, particle size analysis, and others. According to the analyses, the murals were considered to be of a typical soil mural style for Korean Buddhist murals, given that the walls were made of sand and soil and the murals had layers consisting of wall layers and a finishing layer. However, some finishing layer used calcite, while some ground layer used zinc white beneath the thick paint. In addition, there were similar features to those found on the surfaces of oil paintings such as cracks along with the paint layer, high gloss on surfaces, and thick brush strokes in many areas. It was found that the walls on which the murals were painted were made of soil but that the paint layer was created based on the oil painting technique using drying oil. It determined that the murals were painted in a unique painting style that is rarely found in other typical Buddhist murals in Korea.

scholarly journals The 3-Month Efficacy of Visual Art Training on Observational and Diagnostic Skills Among Nursing Students - A Randomized Controlled Trial

2021 ◽  
Author(s):  
Jia Guo ◽  
Qinyi Zhong ◽  
Ying Tang ◽  
Jiaxin Luo ◽  
Hongjuan Wang ◽  
...  
Keyword(s):  
Nursing Students ◽  
Visual Art ◽  
Controlled Trial ◽  
Phase 1 ◽  
Intervention Group ◽  
Traditional Education ◽  
Control Group ◽  
Master Program ◽  
Oil Paintings ◽  
Diagnostic Skills

Abstract Background: Visual art training is a student-led approach using Western art pieces as the main teaching resources. It has been developed and applied in nursing and medical education in the United States. This study aimed to adapt visual art training to Chinese cultural context, then to compare the efficacy of the culturally-tailored visual art training versus traditional education on observational and diagnostic skills at 3-month follow-up among Chinese nursing students in master program. Methods: This study included Phase 1 (cultural adaptation) and Phase 2 (3-month efficacy evaluation). It was conducted from June to September, 2019. In Phase 1, cultural barriers were identified and cultural adaptation strategy were made based on two focus group interviews. Phase 2 was a randomized controlled trial in a local museum. A total of 106 first-year nursing students in master program were randomized to the intervention group (visual art training composed of a field-guided museum visit with observation and debriefing of Chinese oil paintings and clinical images, plus traditional education) or the control group (traditional education). Data were collected for both groups at baseline and 3-month follow-up on the observational and diagnostic skills measured by clinical image tests. Satisfaction with the visual art training was investigated among staff and students respectively. Results: Observational skills of the intervention group increased significantly compared with the control group three months after the training (p < .001). A trend towards the improvement of diagnostic skills was indicated with increment of 2.92 points of the intervention group vs. 0.39 of the control group (p > .05). In general, all participants and staff were satisfied with the visual art training, especially the selected Chinese oil paintings and the student-led teaching process, but 34% (n = 18) were not satisfied with the long distance from the museum. Conclusions: A culturally-tailored visual art training with great acceptability and feasibility was implemented in China. It had a sustained positive effect on improving the observational skills of Chinese nursing students. This study can be used for a reference to introduce visual art training to nursing students or nurses from other cultures.Trial registration: Retrospectively registered in Chinese Clinical Trial Registry (ChiCTR2000037956) on 4th September, 2020.

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