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 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 imagery and abstraction trend of Chinese contemporary oil painting

2021 ◽  
Vol 5 (S2) ◽  
pp. 454-471
Author(s):  
Guangyu Yang
Keyword(s):  
Practical Significance ◽  
Chinese Painting ◽  
Chinese Art ◽  
Oil Painting ◽  
Literary Style

The relevance of the study is determined by the fact that Chinese painting is at least five thousand years old. Throughout history, Chinese artists have used light pink, gold and black colors in their work. The paper shows that sumi-e (Chinese national ink wash painting) is different from the European one. The authors show that calligraphy is inextricably linked to painting, use the same lines, materials, and tools. In China, paintings are not only artistic but also a literary style. The novelty of the study is determined by the fact that the authors of the paper highlight the aspect of the execution of oil painting without preliminary sketches. The expressiveness inherent in Chinese art is achieved through four values of the artist. It is revealed that each artist attaches great importance to the choice of their professional tools and approaches it with an increased level of responsibility. The practical significance of the study is in the fact that the paper shows the possibility of developing the culture of traditional oil painting. It is shown that two opposites must be combined at the same time: dark and light, large and small, dry and wet, short and long, rare and frequent. 

scholarly journals Artistic explorations of Lviv artists of decorative and applied arts in small-scale plastics of the second half of the 20th century: image of a human being

2021 ◽  
Vol IX(258) (47) ◽  
pp. 10-14
Author(s):  
V. Honcharuk
Keyword(s):  
20Th Century ◽  
Art Criticism ◽  
Fine Arts ◽  
Decorative Arts ◽  
Small Scale ◽  
Human Being ◽  
Applied Art ◽  
Wide Range ◽  
Characteristic Features

The present article examines the special characteristics of the development of small-scale sculpture as an independent phenomenon in Lviv fine arts of the second half of the 20th century within the framework of the interpretation of a human being image, since the following problem has not been sufficiently studied in Ukrainian art criticism. In particular, the research focuses on the specific features of artistic experiments of the representatives of decorative and applied art in the field of anthropomorphic sculpture; traces characteristic features of conceptual and modelling solutions; identifies artistic and stylistic features and peculiarities of the representation of a human being image. The author stresses upon the role of Lviv Ceramic and Sculpture Factory that largely set trends in the development of small-scale sculpture. In addition, as based on works of famous representatives of Lviv school of decorative arts, the author identifies the variety of interpretations and wide range of modelling means as well as traces the most vivid anthropomorphic designs.

scholarly journals Metamorphosis of a butterfly: Neo-liberal subjectivation and queer autonomy in Xiyadie's papercutting art

2019 ◽  
Vol 6 (2) ◽  
pp. 243-263
Author(s):  
Hongwei Bao
Keyword(s):  
Identity Politics ◽  
Cultural Production ◽  
Rural China ◽  
Social Identities ◽  
Chinese Art ◽  
Class Politics ◽  
Biographical Approach ◽  
China Today ◽  
Contemporary Chinese

Abstract Celebrated as 'China's Tom of Finland', Xiyadie is probably one of the best-known queer artists living in China today. His identity as a gay man from rural China and his method of using the Chinese folk art of papercutting for queer artistic expression make him a unique figure in contemporary Chinese art. As the first academic article on the artist and his works, this article examines Xiyadie's transformation of identity in life and his representation of queer experiences through the art of papercutting. Using a critical biographical approach, in tandem with an analysis of his representative artworks, I examine the transformation of Xiyadie's identity from a folk artist to a queer artist. In doing so, I delineate the transformation and reification of human subjectivity and creativity under transnational capitalism. Meanwhile, I also seek possible means of desubjectivation and human agency under neo-liberal capitalism by considering the role of art in this picture. This article situates Xiyadie's life and artworks in a postsocialist context where class politics gave way to identity politics in cultural production. It calls for a reinvigoration of Marxist and socialist perspectives for a nuanced critical understanding of contemporary art production and social identities.

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.

APPLICATION OF NEW MEDIA TECHNOLOGIES IN CONTEMPORARY CHINESE ART

2021 ◽  
Author(s):  
Чао Люй
Keyword(s):  
New Media ◽  
Science And Technology ◽  
Chinese Art ◽  
Media Art ◽  
Contemporary Chinese Art ◽  
Media Technologies ◽  
New Media Art ◽  
Aesthetic Form ◽  
Contemporary Chinese

Новое медиаискусство - это новый художественный стиль, разработанный путем интеграции современных передовых достижений науки и техники и искусства. В этой статье обсуждаются уникальные «языковые характеристики» искусства новых медиа в современном китайском искусстве и исследуется роль этой новой эстетической формы в содействии развитию современного китайского искусства. New media art is a new art style developed by integrating modern advanced achievements of science and technology and art. This article discusses the unique “linguistic characteristics” of new media art in contemporary Chinese art and explores the role of this new aesthetic form in promoting the development of contemporary Chinese art.

scholarly journals ЖАНР ХУАНЯО і БУКЕТИ БАРОКО: МЕТАМОРФОЗИ БУТТЯ

2019 ◽  
pp. 89-96
Author(s):  
Юеге Лай
Keyword(s):  
Practical Significance ◽  
Chinese Painting ◽  
Careful Study ◽  
Still Life ◽  
Decorative Art ◽  
The World ◽  
Depth Study ◽  
Artistic Image ◽  
First Time ◽  
Artistic Analysis

The purpose of the study is to identify the figurative and symbolic parallels of the depiction of flowers in the art of China and Europe. Methodology. The study made use of the methods: historical-cultural, comparative, artistic-stylistic, iconological, iconographic. Results. It is shown that in the art of China and Europe, the image of flowers is interconnected with the embodiment of the ideal, beautiful. In our figurative and artistic analysis of the masterpieces of Chinese painting, it is shown that the masters of the “flowers and birds” genre, in the content and form of embodiment, follow the law of the universe formed in Taoism, according to which a cycle occurs in life, as in nature. In the genre of European floral still life of the 17th century, a philosophical, cognitive attitude of a person to the real world surrounding him is expressed. For the Dutch and Flemish still life, associated with the spiritual culture of Christianity, instructive meaning is important. Artists glorify the beauty of the world created by the Creator and, at the same time, adjusts the viewer to reflect on the transience of life. It can be seen that the formation of the European flower still life as an independent genre was influenced by the fine and decorative art of China, in particular, the “flowers and birds” (huanyao) genre. Common features with the style of gunbi (thorough paintbrush) are manifested in a careful study of colors, in a harmonious combination of realistic authenticity with the decorative and linear conventionality of the artistic image. The image of flowers in European painting and art in China is associated with the idea of harmony of the world, presented in the elements. The Baroque floral still life, like the huanyao genre, contain a deep symbolic meaning. The scientific novelty of the publication lies in the fact that for the first time it compares the huanyao genre with baroque bouquets, figurative and symbolic parallels of the image of flowers in the art of China and Europe are found. Practical significance validated the possibility of using the results of the study to develop textbooks and programs for the in-depth study of the art of China and Europe.

The Image of the Yellow (Huang He) River in Chinese Painting

2021 ◽  
Vol 31 (4) ◽  
pp. 546-552
Author(s):  
Yuanpeng Huang ◽  
Galina Alekseeva
Keyword(s):  
Chinese Painting ◽  
Chinese Art ◽  
Oil Painting ◽  
Russian Art ◽  
Traditional Art ◽  
The People ◽  
History Of ◽  
Cultural Code ◽  
Historical Comparative ◽  
First Time

The article is devoted to the creative works of artists who have created pictures of life of the people living along the Yellow (Huang He) River in all nine regions of China. The Huang He River, as the main artery of the country, has long been the subject of study by historians, writers and painters. However, contemporary artists who dedicated their works to the river have not been researched. This work examines the collective image of the Huang He River in the works of Chinese artists from the 1980s to the present day in order to get acquainted with its peculiarities. The methodological basis for the study of contemporary art is the historical and cultural and socio-cultural approaches. The methods of historical-comparative and sociological analysis of art, biographical and iconographic analysis, semiotics and hermeneutics methods are used. For the first time the features of oil painting in different regions along the Huang He River are presented: the geomorphological characteristics, national characters and folk customs in the river basin, and the cultural protection function of painting. The names of a number of Chinese artists have been introduced into Russian art history, and the panorama of the development of painting in the works of Chinese masters painting on the Huang He River has been shown. The works of these artists are correlated with the traditional art and religious ideas of the people living along the Huang He River: the role of created paintings in preserving the cultural code of the inhabitants through the portrayal of national costume, folk and religious holidays is traced. The results can serve as a basis for historical and comparative studies of the artworks of Chinese masters and become the basis for courses on the history of Chinese art.

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