scholarly journals Research on Nie Weigu's Art Education Thought and Creative Practice

2021 ◽  
Vol 4 (4) ◽  
pp. 21
Author(s):  
Qiang Hao
Keyword(s):  
Art Education ◽  
Holy Spirit ◽  
Chinese Art ◽  
The West ◽  
Contemporary Chinese Art ◽  
Second Nature ◽  
The Holy Spirit ◽  
History Of ◽  
Contemporary Chinese ◽  
Opening Up

Nie Weigu is a great master with great attainments in higher art education and painting practice. He is familiar with the psychology of art education and the principles of education and teaching, and has a strong interest in exploring a new way of integration between China and the West. He embraces both Chinese and Western heuristic teaching, focuses on shaping students' sound personality, and carefully cultivates students' noble quality. Facing nature and reality, he took the lead in setting an example and kept writing. He widely absorbed nutrition from other categories and foreign art, expressed his true feelings, made personalized creation, pointed to Western architecture with a Chinese brush, talked with the incarnation of the Holy Spirit, and displayed the second nature - Architecture created by mankind in an unprecedented artistic way, Creatively opening up the art category of "freehand painting" is of milestone significance in the history of contemporary Chinese art.

scholarly journals Contemporary Chinese art: Mao's legacy and Danto's definition

2015 ◽  
Vol 7 (2) ◽  
pp. 191-200
Author(s):  
Wiseman Bittner
Keyword(s):  
Contemporary Art ◽  
Recent History ◽  
Chinese Art ◽  
Contemporary Chinese Art ◽  
Western Art ◽  
Social Nature ◽  
History Of ◽  
Definition Of ◽  
Contemporary Chinese ◽  
The Way

In this paper I am going to do three things: First, identify several themes in contemporary Chinese art that show its essentially social nature and its robust materialism. Second, suggest a way that contemporary art in China is post-modern in the way that Western art is and claim, moreover, that as different as the themes and recent history of this art are from contemporary Western art, the works satisfy a definition of art constructed by Arthur Danto. Finally, in a coda, I present the work of a woman artist that is unlike most recent Chinese and Western art. It positions itself at the far reaches of what art in China is and what Danto's definition allows at the same time that it suggests both the interiority of the practice of art and one way of being a woman.

Continuum Generation by Generation: The representation of Chinese traditions at the China Pavilion of the 57th Venice Biennale

2019 ◽  
Vol 6 (2) ◽  
pp. 343-366
Author(s):  
Ornella De Nigris
Keyword(s):  
Contemporary Art ◽  
Chinese Art ◽  
Chinese Tradition ◽  
Contemporary Chinese Art ◽  
Continuum Generation ◽  
History Of ◽  
The Relationship ◽  
Contemporary Chinese ◽  
Venice Biennale

Abstract This article focuses on the China pavilion of the 57th Venice Biennale as a case study. The theme of the pavilion, Continuum ‐ Generation by Generation, revolved around the long history of Chinese tradition and offered a visual re-elaboration of it by means of contemporary art and folk art. The works exhibited drew on Chinese mythology, masterpieces of Chinese art history, philosophical concepts and handcraft traditions, hence presenting a variegated image of (contemporary) Chinese art. This exhibition offers opportunities for a critical reading of the relationship between contemporary art and tradition implied by the theme Continuum, and I will explore the narrative and curatorial discourse it presented to the audience.

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