Creative mutual influences of contemporary St. Petersburg and Chinese artists

Конец ХХ – XXI век — период активного взаимодействия России и Китая в сфере искусства. Китайское изобразительное искусство испытало серьезное влияние русской академической школы и традиций русского реализма в целом. Современная российская живопись также обогащается элементами китайского искусства, поскольку в последние десятилетия чрезвычайно расширились культурные контакты, которые влияют на творчество отечественных художников. В петербургском искусстве происходят интересные процессы взаимодействия и взаимовлияния разных культур. Петербург становится центром пересечения Востока и Запада. Эти изменения касаются даже такой устойчивой школы, как академическая, связанной с традициями реалистического искусства. Этот феномен нуждается в изучении. Особую роль в художественном взаимообмене играет современная петербургская академическая школа. Новизна данного исследования состоит в изучении некоторых явлений китайской культурной жизни, связанных с влиянием петербургского искусства, и в выявлении взаимовлияний, которые обнаруживаются в творчестве китайских и петербургских мастеров живописи. В статье использованы методы компаративного анализа, наблюдения, интервьюирования для определения общих закономерностей развития искусства двух стран. Современные петербургские художники, представляющие академическую школу, чрезвычайно востребованы в Китае, многократно там бывали и сотрудничают на разных уровнях с представителями культурной общественности. Китайские коллекционеры и деятели искусства активно сотрудничают с художниками и разрабатывают интересные проекты. Во время пандемии в 2019–2020 годы реальные контакты между странами сократились, но переместились в виртуальное пространство, теперь многие образовательные и культурные программы проходят в дистанционном режиме. Творческие связи не ослабевают, и это дает надежду на дальнейшее развитие культурного сотрудничества на всех уровнях. The end of the 20th and the 21st century is a period of active interaction between Russia and China in the field of art. Chinese fine art has been seriously influenced by the Russian academic school and the traditions of Russian realism in general. Modern Russian painting is also enriched with elements of Chinese art, since cultural contacts that influence the art of domestic artists have expanded enormously in recent decades. Interesting processes of interaction and mutual influence of different cultures take place in Petersburg art. St. Petersburg becomes the center of the intersection of East and West. These changes concern even such a stable school as the academic one, connected with the traditions of realistic art. This phenomenon needs to be studied. A special role in the artistic interchange is played by the modern St. Petersburg academic school. The novelty of this research consists in studying some phenomena of Chinese cultural life associated with the influence of St. Petersburg art and in identifying mutual influences that are found in the works of Chinese and St. Petersburg masters of painting. The article uses methods of comparative analysis, observation, and interviewing to identify common patterns of the development of art in the two countries. Contemporary St. Petersburg artists representing the academic school are extremely in demand in China, have been there many times and cooperate at various levels with representatives of the cultural community. Chinese art-collectors and artists actively cooperate with artists and develop interesting projects. During the pandemic, real contacts between countries decreased, but moved to the virtual space. Now many educational and cultural programs are held remotely. Creative ties do not weaken and this gives hope for the further development of cultural cooperation at all levels.

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

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.

The Aesthetic Education Value of Thematic Art Creation

Thematic art creation is a product of a complex social, historical, and cultural context, and it fills an important position in the development of modern and contemporary Chinese art history. Since the 21st century, with the introduction and implementation of a series of national major thematic art creation projects, thematic art creation has gradually moved from a marginal position in art history to a core area, becoming a visual narrative method with independent aesthetic value. Moving towards cultural consciousness and carrying cultural self-confidence, thematic art creation requires the guidance, standardization, and support of related art theories. The lack and absence of theoretical research restricts the development of thematic art creation. This study combs through the research results and literature materials of thematic art creation since the new century as well as studies the aesthetic education value of thematic art creation image narration.

On Contemporary Female Seal-carving Artists

In contemporary times, female art is gradually seen as an independent branch of art. Seal carving is a world intangible cultural heritage and an important part of Chinese art. Female seal-carving artists, against such a backdrop, are exhibiting their own charm with a tint of Chinese characteristics. This paper intends to give an outline of female seal carving in China and its development process. It then explores its artistic features with examples of contemporary female seal-carving artists, such as Luo Pengpeng and Yin Fenghua. In the end the problems confronting the female group will be discussed and their way out.

The Experimental Research on Stylized Teaching Method Used in the Art Guidance of Chinese Undergraduates (Piano Accompaniment) — Take the Teaching of Haidun Piano Sonata as an Example

The major of piano accompaniment has been very popular, but it is very short of the professional director, and the art guidance courses are various. But, the technology and method of piano accompaniment are the compulsory courses however it is divided. In the class and practice activity, stylized teaching must be practiced, which can not only make the students better learn the artistry of the work via the art guidance courses, but it also makes the student have more feelings about the work. In the recent years, the domestic art has been increasingly developing and gradually improved, and piano accompaniment has been a type of profession, which has attracted much attention in the field. Above all, in the paper, it researches and analyses the teaching practice of piano accompaniment to ascertain how to achieve better stylized teaching to indeed improve the quality of art guidance of the Chinese undergraduates, and at the same time to assist Chinese art to get a further development.

Intorno alla musica d’arte (muqam) degli uiguri

Despite the recent nomination of the muqam as Intangible Heritage of China, the term refers in itself to the Art music traditions of the vast Arab-Persian and Central Asian world called, with an Arab term, maqām. After a geo-cultural and musicological analysis of the Uyghur muqam, the article takes into exam some of its distinctive components, beginning with the subtle commonalities between the world of muqam and Chinese art music; it moves, then, to the key figure of Uyghur queen Āmānnisā Khān Nāfisi (1526-1560) and to the cultural and musical route connecting Herat-Bukhara-Samarkand-Kashgar in sixteenth century. Finally, the paper focuses on a particular convivial meeting with music called mashrab, possibly influenced by Sufism.

Linguistic Representation of the Image of China in Russian-Language Blogs About Chinese Art Embroidery

The image of China, whose culture and traditions are actively discussed in mass communication, is the subject of intense interest among scholars of various humanities fields. At the same time, linguistic studies very rarely involve texts of modern media communications reflecting the country’s image in the aspect of traditional art. This article examines the linguistic means of representation of the image of China reflected in the Russian-language texts of blogs about Chinese art embroidery. The topicality of the paper is determined by the interest in the study of the cultural image of the People’s Republic of China in Internet communication. The novelty of this research lies in turning to a new medialinguistic object – modern cultural and educational Russian-language texts of blogs devoted to Chinese art – and its linguistic study. As a source material the author used blogs posted on the online platform LiveJournal. The empirical material was studied using the methods of contextual and medialinguistic analysis. It was found that in these texts the media image of China is created through the prism of five main aspects of Chinese embroidery as a unique art form: the popularity and worldwide recognition of Chinese embroidery; the centuries-old history of Chinese embroidery; embroidery schools and styles of embroidery; evaluations of the texts’ authors; evaluations of the addressee. In addition, the article reveals the linguistic means that create an image of this unique art form. It is concluded that the image formed through a comprehensive description of this type of Chinese art represents China as the birthplace of silk as well as a country with ancient traditions and unique culture.

Cultural Hybridization in Christian China: The Art of Cloisonné at The Service of God

The usual conception of traditional Chinese art tends to forget the existence of a rich cultural legacy of Christian origin that has been reflected in the manufacture of ritual objects for the convert communities and European missionaries in China. Among the most used techniques, cloisonné stands out, with important liturgical or decorative pieces treasured by missionaries and collectors, many of them in Western museums today. This work tries to make an approximation to some of those ritual objects used by the Christian Chinese communities that reflect the great influence that the Western artistic models had in the conception of art as a result of the cultural hybridization between both worlds.