scholarly journals ДУХОВНО-ІНТЕЛЕКТУАЛЬНИЙ РОЗВИТОК МАЙБУТНІХ УЧИТЕЛІВ ОБРАЗОТВОРЧОГО МИСТЕЦТВА НА ЗАНЯТТЯХ З ОЛІЙНОГО ЖИВОПИСУ

2021 ◽  
pp. 162-164
Author(s):  
Лі Янь
Keyword(s):  
Intellectual Development ◽  
Fine Arts ◽  
Young Person ◽  
Future Teachers ◽  
Oil Painting ◽  
Oil Paintings ◽  
Evaluative Judgments ◽  
Aesthetic Taste ◽  
Inner World ◽  
Arts Classes

The article reveals the connection between the teaching of oil painting and the spiritual and intellectual development of future teachers of fine arts. Classes in oil painting harmonize the inner world of a young person, cultivate his aesthetic taste, evaluative judgments. The best oil paintings by Chinese artists have gained recognition.

scholarly journals Oil Paintings and Politics: Weaving a Heroic Tale of the Chinese Communist Revolution

2007 ◽  
Vol 49 (4) ◽  
pp. 783-814 ◽  
Author(s):  
Chang-Tai Hung
Keyword(s):  
Cultural Revolution ◽  
Fine Arts ◽  
Mao Zedong ◽  
Oil Painting ◽  
Tiananmen Square ◽  
Republic Of China ◽  
Art And Politics ◽  
Oil Paintings ◽  
New Nation ◽  
The Cultural Revolution

“In my entire life I did not produce a single painting that was uppermost in mind to create,” the celebrated painter Dong Xiwen (1914–1973) reportedly lamented on his deathbed. Dong may not have produced the dream piece that he would truly cherish, but he did create, albeit unwillingly, a deeply controversial work of art in his 1953 oil painting The Founding Ceremony of the Nation (Kaiguo dadian) (Figures 1 and 2), for it epitomizes the tension between art and politics in the People's Republic of China (PRC). In this famous piece, Dong portrays Chairman Mao Zedong (1893–1976) in Tiananmen Square on 1 October 1949, with his senior associates in attendance—Liu Shaoqi (1898–1969), Zhu De (1886–1976), Zhou Enlai (1898–1976), Gao Gang (1905–1954), Lin Boqu (1886–1960), and others. They are surrounded by huge lanterns, a Chinese symbol of prosperity, and a sea of red banners that declare the founding of a new nation. When first unveiled in 1953, the painting was widely hailed as one of the greatest oil paintings ever produced by a native artist. In just three months more than half-a-million reproductions of the painting were sold. But the fate of this work soon took an ominous turn, and the artist was requested to make three major revisions during his lifetime. In 1954 Dong was instructed to excise Gao Gang from the scene when Gao was purged by the Party for allegedly plotting to seize power and create an “independent kingdom” in Manchuria. During the Cultural Revolution in the mid-1960s Liu Shaoqi was accused of advocating a “bourgeois reactionary line” and subsequently was purged, and Dong was ordered in 1967 to redo his painting again and erased Liu from the inauguration scene. Then, in 1972, also during the Cultural Revolution, the radicals, commonly labeled the “Gang of Four,” ordered a third revision, namely, that Lin Boqu be eliminated from the painting for allegedly opposing the marriage of Mao and Jiang Qing (1914–1991) during the Yan'an days. By this time Dong was dying of cancer and was too ill to pick up the brush, so his student Jin Shangyi (b. 1934), and another artist, Zhao Yu (1926–1980), were assigned the task. These two artists, afraid of doing further damage to the original piece, eventually produced a replica of the painting, with the ailing Dong brought from the hospital for consultation on his embattled work. Though Dong died the following year, the ill-fated story of The Founding Ceremony of the Nation did not end: in 1979, with the demise of the Gang of Four and the Party's official rehabilitation of Liu Shaoqi, the images of Liu, Gao Gang, and Lin Boqu were restored in the painting. Because Jin Shangyi was on a foreign tour, Yan Zhenduo (b. 1940), a graduate of the Department of Oil Painting at the Central Academy of Fine Arts (CAFA), was called upon to help reinstall the three leaders.

scholarly journals “Gunpowder painting” of Cai Guo-Qiang: Chinese artistic tradition in the era of postmodernism

2020 ◽  
pp. 44-50
Author(s):  
Marina Aleksandrovna Neglinskaya
Keyword(s):  
New York ◽  
Fine Arts ◽  
The United States ◽  
Oil Painting ◽  
Chinese Tradition ◽  
State Museum ◽  
International Audience ◽  
The Subject ◽  
Traditional Paradigm ◽  
Artistic Tradition

The subject of this research is the art of Cai Guo-Qiang (born in 1957) – the modern Chinese painter who lives and works in China and the United States (New York). The object of this research is the storyline fireworks of Cai and his innovative technique of “gunpowder painting”. The first works of the painter were canvasses in oil painting, and by 1980’s he invented a new “gunpowder” technique, which was first applied in combination with oil on the canvas, and since 1990’s – with ink on the paper, as a version of modern traditional painting guo-hua. His works evolved from social realism to a distinct variation of modern expressionism, as demonstrated the first in Russia retrospective exhibition of the works of Cai Guo-Qiang that took place in the Phuskin State Museum of Fine Arts (“October”, Moscow, 2017). Authors of the exhibition catalogue justifiably note the “cosmopolitan mission” of his art, but leave out of account the traditional context. The proposed methodology, which integrates art and culturological analysis, allows seeing in the works of this prominent modern painter the version of mass art that retains mental and reverse connection with the Chinese tradition. The scientific novelty of the article is defined by the following conclusions: the art of Cai Guo-Qiang is addressed to the international audience, but concords with the traditional paradigm due to Buddhist mentality deeply rooted in the painter’s consciousness. The traditional aspect is his proclivity for harmonization of social environment. This mass art that possesses formal and substantive novelty is associated with the modern international artistic market, as well as market version of “Chinese style” (Chinoiserie) of the XVIII century.

scholarly journals The model of development of a professional competence of future teachers on the basis of a personality-centered approach

2021 ◽  
Vol 113 ◽  
pp. 00012
Author(s):  
L.I. Abbasova
Keyword(s):  
Professional Competence ◽  
The Self ◽  
Future Teacher ◽  
Practical Training ◽  
Future Teachers ◽  
Interactive Technologies ◽  
Self Development ◽  
Self Actualization ◽  
Inner World ◽  
Definition Of

The article describes specific features of the development of professional competence of future teachers. The development of the professional competence of future teachers on the basis of the personality-centered approach is aimed at changing personal readiness for the process of implementing their future professional and pedagogical activities. Different views of scientists on the definition of “professional competence” are considered. The model of developing personal and professional competence of future teachers is presented, which consists of four components: target; content-organizational; diagnostic and reflexive-prognostic component. The main forms of work with students within the framework of the presented model are interactive technologies for conducting classes, consisting of four components: target; content-organizational; by means of facilitating the processes of self-actualization and self-development, etc. An important role is given to individual work with students, pedagogical support in building individual routes for each future teacher. Independent activity presupposes work on one's own personality, with one’s own inner world for the purpose of self-improvement and use of the Self-Observation Diary. The knowledge and experience gained are further implemented as a result of practical training of students at the bases of specialized organizations. The results of experimental activities on the implementation of the model of development of professional competence of future teachers in practice are described.

Matsumoto, Shunsuke (松本竣介, 1912–1949)

2018 ◽  
Author(s):  
Takuya Tsunoda
Keyword(s):  
High School ◽  
Fine Arts ◽  
Urban Landscapes ◽  
Pacific War ◽  
Oil Painting ◽  
Avant Garde ◽  
The Pacific ◽  
Literary Arts ◽  
Spinal Meningitis ◽  
Professional Artist

Matsumoto Shunsuke was an oil painter and essayist active in the years up to and through the Pacific War. His best-known paintings, most of which feature figures in urban landscapes, include several self-portraits such as Standing Figure (1942). Matsumoto contracted spinal meningitis at the age of eleven, which eventually led to the loss of his hearing, an event that steered him towards the career of professional artist, and encouraged him to become immersed in reading and the literary arts. Later, it also rendered him ineligible for the draft. At seventeen he dropped out of high school and moved to Tokyo, where he studied oil painting at the Pacific School of Fine Arts (Taiheiyô Bijutsu Gakkô) for three years. In 1935 he became a member of the avant-garde NOVA Art Society, the first of several exhibition collective and artist groups in which he would participate. Other groups including the Nikakai, the Nine-Room Society (Kyûshitsukai), and the Newcomers Painting Society (Shinjin Gakai). Like Ai Mitsu, Asô Saburô, and others with whom he associated, Matsumoto expanded his style to accommodate expanded Japanese interest in Abstraction and Surrealism during the 1930s, but he largely retained his interest in painting intimate portraits, set in non-idealized cityscapes, throughout his career.

Tantisuk, Sawasdi (1925--)

2018 ◽  
Author(s):  
Charlotte Galloway
Keyword(s):  
Fine Arts ◽  
Natural World ◽  
Buddhist Philosophy ◽  
Urban Life ◽  
Art Practice ◽  
Oil Paintings ◽  
Western Art ◽  
Outdoor Scenes ◽  
The 1960S

Born in Thonburi, Thailand, Sawasdi Tantisuk is a contemporary of Tawee Nandakwang; both artists were trained at Silpakorn University and the Academy of Fine Arts in Rome. As a prominent figure in early Thai modernism, Tantisuk favored watercolor, as its unforgiving and immediate characters resonated with his approach to art practice, which drew on the Buddhist philosophy wherein each action—in this case, brushstroke—cannot be undone. Tantisuk’s early works were in the impressionist genre, but following his four years in Rome, his work became more abstracted and geometric as he absorbed some of the major trends in Western art, with color and texture being characteristics of many oil paintings of the 1960s. As his career progressed, abstraction remained his favored approach to painting, though he maintained some realist elements in his watercolor outdoor scenes. Tantisuk used color to evoke emotion in his works, depicting both the serenity and wonder of the natural world and the bustle of Thai urban life. A consistent painter, he has received many awards throughout his career and has remained involved with the art profession. He received an Honorary PhD from Silpakorn University in 1991, and was Thailand’s National Artist (painting) that same year.

Ku Ponung (구본웅, 具本雄) (1906–1953)

2018 ◽  
Author(s):  
Jungsil Jenny Lee
Keyword(s):  
Korean War ◽  
Fine Arts ◽  
Colonial Period ◽  
Korean Art ◽  
Oil Paintings ◽  
Western Art ◽  
Literary Magazine ◽  
The Korean War ◽  
Japanese Colonial ◽  
Spine Curvature

Ku Ponung was a modern artist and critic active during the Japanese colonial period and the Korean War. Due to his spine curvature and eccentric personality, Ku was likened to the French painter Henri de Toulouse-Lautrec (1864–1901) and called "The Seoul Lautrec." Ku attended the Taiheiyō School of Fine Arts in Tokyo, where he was introduced to Fauvism, Expressionism, Surrealism, Cubism, and other modern Western art styles. He later pioneered the acceptance of these styles in Korea. Many of Ku’s oil paintings were lost during the Korean War, but several portraits and still lifes survive. Ku worked closely with contemporaneous writers, and his friendship with the modern poet Yi Sang is well known. Ku also edited and published the literary magazine Ch’ŏngsaekchi. After the liberation of Korea from Japan in 1945, Ku worked to revitalize Korean art by experimenting with various formats and media, including traditional ink painting and newspaper illustration. His attempt at artistic revival continued, even during the turmoil of the Korean War.

Jaafari, Nazem al- (1918--)

2018 ◽  
Author(s):  
Anneka Lenssen
Keyword(s):  
Secondary Schools ◽  
Fine Arts ◽  
Soviet Bloc ◽  
Advanced Training ◽  
Oil Painting ◽  
Postage Stamps ◽  
Professional Artist ◽  
Formative Years

Al-Jaafari was one of the first painters in Syria to achieve recognition as a professional artist. Pursuing a semi-romantic realist style for the whole of his career, he specializes in portraits and drawings of old Damascus. Born in Damascus, Syria, Al-Jaafari’s formative years were characterized by a restless search to attain advanced training. He went to Turkey in 1941, but returned to Syria, where he attended some of the earliest civic art clubs in Damascus including Studio Veronese (est. 1941) and the Association of Arab Arts (est. 1943). In 1944 he traveled to Cairo to study oil painting at the Faculty of Fine Arts, completing a degree in 1947. He would travel again in 1953–54, moving to Brazil for a year before returning to Syria permanently. In Damascus, he taught at secondary schools, briefly taught at the College of Fine Arts before resigning, completed a vast body of landscape and portrait paintings, and executed a number of commissions for postage stamps and medals. Because of his career-long commitment to realistic painting, Jaafari’s work frequently featured in Syrian exhibitions sent to the countries of the Soviet bloc.

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