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Journal articles on the topic 'Art, Chinese'

Author: Grafiati

Published: 4 June 2021

Last updated: 29 July 2024

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1

Yui, Wei. "Chinese Women’s Art." Культура и искусство, no. 5 (May 2022): 86–95. http://dx.doi.org/10.7256/2454-0625.2022.5.38062.

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The article discusses the origin and evolution of women's visual art in China. The development of this artistic direction was due to the radical social transformations since the beginning of the Open Door Policy in 1978. Analysis of the art by Li Hong, Cui Xiuwen, Feng Jiali, Yuan Yaomin and others reveals main features of the evolution of women's creativity in China. The search and acquisition of female identity, the destruction of psychological barriers imposed by traditional ideas and stereotypes about a woman, her physicality, beauty, etc., the study of gender differences, the reflection of female subjectivity, the assertion of a new status for women in modern society - all this makes the content of Chinese women's art. The novelty of the research lies in the fact that the article studies the works of quite reputable Chinese artists who were not presented earlier in Russian art history science. This article is intended to contribute to the study of the processes of emancipation of the consciousness of the Chinese and raising the status of women artists in society. Reflections on personal experience, social problems and historical destinies determine the specifics of the artistic language of women's works. In view of the active feminist movements of our time, increasing attention to the inner world of women and criticism of patriarchal foundations, addressing this topic seems very relevant today.

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2

Jiehong, Jiang. "Chinese art outside the art space." Journal of Contemporary Chinese Art 5, no. 2 (September 1, 2018): 111–15. http://dx.doi.org/10.1386/jcca.5.2-3.111_2.

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3

Yang, Mengyu. "Chinese Modernisation and Contemporary Inheritance of Chinese Traditional Art." Frontiers in Science and Engineering 4, no. 7 (July 24, 2024): 34–38. http://dx.doi.org/10.54691/dbywt386.

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China's modernisation must pay attention to the role of traditional Chinese culture. Traditional culture is the cultural wealth created by the Chinese nation, with important historical and cultural value, in the process of China's modernisation, the combination and inheritance of traditional culture is indispensable. Chinese civilisation has created countless excellent works of art over the past 5,000 years, and nowadays Chinese traditional culture has become an indispensable factor in contemporary art design with its colourful content and diverse styles, which can only contribute to the harmonious construction of Chinese-style modernisation by combining it with Chinese reality. The application of traditional cultural elements in modern art design plays an extremely important role. The application of traditional cultural elements in art design can innovate art forms and promote the sustainable development of traditional art features. Let its application in art design, with innovative ideas and thinking to better promote the innovative development of art design, and promote the integration of culture and art.

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4

Cahill, James, and Jerome Silbergeld. "Chinese Art and Authenticity." Bulletin of the American Academy of Arts and Sciences 55, no. 1 (2001): 17. http://dx.doi.org/10.2307/3824253.

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5

Pengfei, Wei. "CHINESE TRADITIONAL ART — QUYI." Arts education and science 1, no. 1 (2020): 134–36. http://dx.doi.org/10.36871/hon.202001017.

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The purpose of this article is to provide a comprehensive cultural and art history analysis of such a form of performing arts as Quyi, which has deep historical roots in China. Quyi art is endowed not only with a unique aesthetic function, but also has cultural significance and plays an important role in the history of China. Based on the study of historical sources, the article analyzes the traditions of vocal performance of Quyi, taking into account the cultural characteristics of certain regions of China and dialect differences, vocal variations, types of performing techniques, styles, schools, etc. Key objects of the review are the individual vocal schools and the typology of Quyi. In connection with changes in cultural trends and anatomical justifications of sound production, the author proposes an updated classification of schools and styles of traditional Chinese art, which represents an innovative approach to the theory of studying the debated form of vocal performance art. Currently, in the background of the rapidly developing society, the accumulation of knowledge, the improvement of the cultural level of the population as a whole and the development of vocal traditions don't look optimistic. Most young people in China are not familiar with this form of traditional art and identify Quyi with singing, dancing, and other forms of musical creativity. In connection with the above, the study and the systematization of information about Quyi are relevant for modern musicology.

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Caswell, James O., and Cheng Te-k'un. "Studies in Chinese Art." Pacific Affairs 58, no. 3 (1985): 520. http://dx.doi.org/10.2307/2759262.

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Li, Pi. "Chinese Contemporary Video Art." Third Text 23, no. 3 (May 2009): 303–7. http://dx.doi.org/10.1080/09528820902954937.

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8

Wang, Yijing. "Dynamic Art: Chinese Calligraphy." Communications in Humanities Research 3, no. 1 (May 17, 2023): 1011–21. http://dx.doi.org/10.54254/2753-7064/3/2022804.

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The purpose of this study is to investigate the effects of modern society on the aeathetics of traditional Chinese Calligraphy, and techniques to preserve these aesthetics through designing a curatorial project. From the conducted research, it is evident that modern interpretations of calligraphy have driven away from traditional aesthetic standards. The paper will present an exhibition design that portrays ancient aesthetics through the manipulation of space. The organization of the exihibition relied heavily on Barry Judithss article, Dissenting Spaces, in the book: Thinking about Exhibitions. The significance of such a design is to introduce the Chinese Calligraphy without misinterpretations to the society.

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9

Zhang, Yichi. "Film as Art: From Art Theory to Film Theory." Scientific and Social Research 6, no. 2 (February 28, 2024): 173–78. http://dx.doi.org/10.26689/ssr.v6i2.6275.

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This article uses the introduction of the book Film as Art, the definition and interpretation of the concept of “film,” the connotation and extension of “film art,” the necessity and possibility of “film art” research, etc. to analyze China’s important theoretical issues in the development of film theory are sorted out and reflected on. The article believes that in the context of globalization, the development of Chinese film theory faces many theoretical issues, such as the independent character of the theory itself, the relationship between theoretical research and creative practice, and the influence of socialist literary and artistic thought with Chinese characteristics on contemporary Chinese film creation and theoretical research. In this regard, the article puts forward some corresponding countermeasures. This article believes that only by adhering to the development path of socialist literature and art with Chinese characteristics and taking film as art as a basic principle can we promote the prosperity and development of Chinese film theory in the new era and can we better play the important role of Chinese films in the world cultural field.

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PAN, LUOMING. "Western graffiti art VS Chinese "contemporary calligraphy" art." Convergence of Humanities, Social Science an Art’s Academy 4, no. 3 (December 31, 2020): 69–86. http://dx.doi.org/10.37846/soch.4.3.69.

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11

Luo, Jianxin. "Chinese Painting and Traditional Chinese Culture." International Journal for Innovation Education and Research 3, no. 5 (May 31, 2015): 176–81. http://dx.doi.org/10.31686/ijier.vol3.iss5.373.

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Having gone through many generations of inheritance and development, Chinese paintings have become world′s artistic and cultural treasure. Chinese culture has influenced the world for thousands of years with its art, philosophy, technology, food, medicine and performing arts. In this article, it is discussed that painting and calligraphy is from fountain, between the traditional culture and traditional art, which impresses the soul of the Chinese traditional culture.

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12

Duan, Lian. "Meta-Art History: Introduction to a Narratological Study of Art History." Signs and Media 1, no. 2 (September 22, 2021): 142–56. http://dx.doi.org/10.1163/25900323-12340008.

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Abstract This article outlines a narratological study of art history, discussing how to tell the story of art while telling the story. With this twofold purpose in mind, the author in this article draws the grande ligne of a narrative model on the one hand and proposes a historical argument about modern Chinese art on the other. The former aims at breaking down the boundary between intrinsic and extrinsic studies of art history, whereas the latter aims at proposing a main thesis about modern Chinese art. For the main thesis, the author argues that the development of Chinese art in the twentieth and the early twenty-first centuries is primarily determined by the interaction between the influence of Western art and the Chinese responses to the influence, and the response is driven by the Chinese anxiety of cultural identity over the last one hundred years. Although the topic of this article is centralized around modern Chinese art, the theorization of the methodological approach is to generalize the narrative model for the study of not only art history but also visual culture, critical theory, and relevant disciplines in the humanities.

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13

Braga, Thiago. "Tea Art." Gastronomica: The Journal of Food and Culture 23, no. 2 (2023): 28–36. http://dx.doi.org/10.1525/gfc.2023.23.2.28.

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This paper sheds light on the operative dynamics of Chinese Contemporary Tea Art, eschewing a formalist reading that equates it with the gongfu ceremony, taking as a jumping-off point instead the Chinese terms that are usually translated into Tea Art: chayi and chadao. I analyze Tea Art through analytics that are raised by its own practitioners, namely the interrelated yet irreducible logics of yi and dao. First, I analyze the yi logic of chayi, demonstrating how the aesthetic register of Tea Art evokes broader, historically rooted ideas about the role of aesthetics as a vector for the moral transformation of society. Second, I turn to the dao logic of chadao, where I illustrate the ways in which Tea Art practice incorporates popular discourses on the interconnectedness of humans and their environment through interpretations of the dao and its adjacent concepts, transforming it into a modality of self-work that reconfigures one’s relationship to self, other, and nature. Third, I place the rise of Tea Art in a sociocultural context to demonstrate that it is neither the revival of an ancient Chinese tradition nor a purely invented tradition but rather a highly complex contemporary phenomenon built at a critical juncture of the Chinese modernization project where urbanites have increasingly pondered issues of spiritual and psychological well-being.

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14

Bian, Zilong. "Chinese Traditional Art of Lacquerware." Университетский научный журнал, no. 65 (2022): 93–100. http://dx.doi.org/10.25807/22225064_2021_65_93.

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15

Hu, Mingyuan. "Language and Chinese Art History." Australian and New Zealand Journal of Art 21, no. 1 (January 2, 2021): 41–57. http://dx.doi.org/10.1080/14434318.2021.1934774.

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16

Addiss, Stephen, and Kiyohiko Munakata. "Sacred Mountains in Chinese Art." Journal of Aesthetic Education 26, no. 1 (1992): 115. http://dx.doi.org/10.2307/3332737.

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17

Ryor, Kathleen M. "Children in Chinese Art (review)." China Review International 9, no. 2 (2002): 572–76. http://dx.doi.org/10.1353/cri.2003.0115.

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18

Caswell, James O., and Kiyohiko Munakata. "Sacred Mountains in Chinese Art." Pacific Affairs 65, no. 3 (1992): 405. http://dx.doi.org/10.2307/2760084.

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19

Fong, Wen C. "The Modern Chinese Art Debate." Artibus Asiae 53, no. 1/2 (1993): 290. http://dx.doi.org/10.2307/3250520.

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20

Marshall, Michael. "Chinese art reveals ancient expertise." New Scientist 246, no. 3287 (June 2020): 18. http://dx.doi.org/10.1016/s0262-4079(20)31095-2.

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21

Ian Shin, K. "The Chinese Art “Arms Race”." Journal of American-East Asian Relations 23, no. 3 (October 27, 2016): 229–56. http://dx.doi.org/10.1163/18765610-02303009.

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Interest in Chinese art has swelled in the United States in recent years. In 2015, the collection of the late dealer-collector Robert Hatfield Ellsworth fetched no less than $134 million at auction (much of it from Mainland Chinese buyers), while the Metropolitan Museum of Art drew over 800,000 visitors to its galleries for the blockbuster show “China: Through the Looking Glass”—the fifth most-visited exhibition in the museum’s 130-year history. The roots of this interest in Chinese art reach back to the first two decades of the 20th Century and are grounded in the geopolitical questions of those years. Drawing from records of major collectors and museums in New York and Washington, D.C., this article argues that the United States became a major international center for collecting and studying Chinese art through cosmopolitan collaboration with European partners and, paradoxically, out of a nationalist sentiment justifying hegemony over a foreign culture derived from an ideology of American exceptionalism in the Pacific. This article frames the development of Chinese art as a contested process of knowledge production between the United States, Europe, and China that places the history of collecting in productive conversation with the history of Sino-American relations and imperialism.

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22

Whyte, Iain Boyd. "Editorial: Chinese Art and Translation." Art in Translation 5, no. 2 (June 2013): 163–64. http://dx.doi.org/10.2752/175613113x13623999736455.

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23

Lucie-Smith, Edward. "Chinese Art: Shanghai Goes Plop." Index on Censorship 33, no. 2 (April 2004): 208–16. http://dx.doi.org/10.1080/03064220408537358.

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24

Hung, Wu. "Television in Contemporary Chinese Art." October 125 (July 2008): 65–90. http://dx.doi.org/10.1162/octo.2008.125.1.65.

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25

ULIАNOVA, Viktoriia. "PECULIARITIES OF CHINESE MUSICAL ART." Humanities science current issues 3, no. 71 (2024): 273–78. http://dx.doi.org/10.24919/2308-4863/71-3-44.

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26

Liu, Qisheng. "Contemporary Oil Painting Art and Art Market in Real Life." Transactions on Social Science, Education and Humanities Research 7 (May 6, 2024): 237–40. http://dx.doi.org/10.62051/1367xt64.

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Since the reform and opening up in the 1980s, in the context of cultural exchange between China and the West, Chinese culture, art, and ideological concepts have undergone tremendous changes. Under the influence of Western painting, the development of oil painting art has further explored and studied modernist painting. At the same time, under the influence of Western modernist painting art, Chinese oil painting art has also shown a phenomenon of a hundred flowers blooming, such as the diversification of artistic styles and the diversification of painting language types, thereby creating the birth of various new painting schools. In the context of globalized art and culture, contemporary Chinese oil painting has also begun to go global. However, the development of contemporary Chinese oil painting is still criticized by the art of easel painting and photorealistic painting. Faced with the booming art market and the diversification of evaluation standards, how to understand the current situation and trends of contemporary oil painting art development is a question worthy of our in-depth research and reflection.

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Wang, Cindy, Goh Su-Lynn, and Ashley Chen. "From Chinese Aesthetic to Art and Design: Exploring Chinese Aesthetics of Chinese Ink Painting to Create Contemporary Art." International Journal of Visual Design 14, no. 1 (2020): 11–22. http://dx.doi.org/10.18848/2325-1581/cgp/v14i01/11-22.

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28

Yuan, Xiaojie. "The Impact of Uli Sigg and CCAA on Chinese Contemporary Art International Development." Communications in Humanities Research 9, no. 1 (October 31, 2023): 246–52. http://dx.doi.org/10.54254/2753-7064/9/20231192.

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This paper provides an overview of the development of contemporary Chinese art, highlighting important milestones such as the 798 Art Zone and the 85 New Wave Movement and examining the impact of globalization on the Chinese art scene. Next, the paper explores the personal background and collection philosophy of Uli Sigg, a prominent art collector who has played a significant role in the development of contemporary Chinese art. Siggs involvement in the establishment of the Chinese Contemporary Art Award (CCAA) and his role in connecting foreign capital with Chinese artists are discussed. Additionally, the paper examines the influence of Sigg on the international development of contemporary Chinese art through initiatives such as the M+ Museum and the Sigg Prize. The paper points out that Sigg has made an important contribution to the international recognition and exchange of Chinese contemporary art through exhibitions. Finally, the paper concludes by comparing Siggs contributions with those of other contemporary Chinese art collectors. It is noted that Siggs contribution is not only in art collecting but more importantly, in his cross-border thinking and global vision, which has had a profound impact on the development of Chinese contemporary art.

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Li, Linli. "Art Funds in China: Developments and Limitations." Arts 10, no. 1 (January 9, 2021): 4. http://dx.doi.org/10.3390/arts10010004.

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This paper focuses on a type of worldwide art investment vehicle in an unexplored yet significant area: the Chinese art fund. It seeks to understand why art funds exploded in China after the 2008 financial crisis and how they have developed new features in the Chinese context. Further, it discusses the relationship between Chinese art funds and the Chinese art world. While these two groups tend to be what sociologists call “hostile worlds” in the West, my study shows that actors in the Chinese art world tend to take a pragmatic attitude toward capital. Thus, art funds face fewer social limitations in the Chinese art world than their Western counterparts. However, Chinese art funds face limitations in terms of accessibility, credibility, and liquidity. These limitations have been caused mainly by a series of regulations launched since 2013, which has primarily resulted in a decline of art funds in China.

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Li, Linli. "Art Funds in China: Developments and Limitations." Arts 10, no. 1 (January 9, 2021): 4. http://dx.doi.org/10.3390/arts10010004.

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This paper focuses on a type of worldwide art investment vehicle in an unexplored yet significant area: the Chinese art fund. It seeks to understand why art funds exploded in China after the 2008 financial crisis and how they have developed new features in the Chinese context. Further, it discusses the relationship between Chinese art funds and the Chinese art world. While these two groups tend to be what sociologists call “hostile worlds” in the West, my study shows that actors in the Chinese art world tend to take a pragmatic attitude toward capital. Thus, art funds face fewer social limitations in the Chinese art world than their Western counterparts. However, Chinese art funds face limitations in terms of accessibility, credibility, and liquidity. These limitations have been caused mainly by a series of regulations launched since 2013, which has primarily resulted in a decline of art funds in China.

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Board, Editorial. "Cover Art." Public Voices 2, no. 1 (April 11, 2017): 6. http://dx.doi.org/10.22140/pv.419.

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32

Liu, Fang, and Battsooj. "The Influence of Chinese Clay Sculpture on Chinese Animation Modeling." Journal of Education and Educational Research 6, no. 3 (December 18, 2023): 23–26. http://dx.doi.org/10.54097/dn71cb90.

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The art of clay sculpture has a long history and rich cultural connotations in China. As a part of traditional Chinese culture, clay sculpture brings infinite imagination and creativity to people with its unique form and vivid vitality. With the rapid development of China's animation industry, clay sculpture art has also begun to have a profound impact on Chinese animation modeling. This article will explore the origin and development of clay sculpture, the current situation of Chinese animation modeling, the influence of clay sculpture art on Chinese animation modeling, and case analysis.

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Wu, Meng. "Designing exhibitions of Chinese art in Soviet Art Museums: from collectible to problematic method." Культура и искусство, no. 6 (June 2024): 200–212. http://dx.doi.org/10.7256/2454-0625.2024.6.70750.

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The object of research is Chinese fine art presented in Soviet museums, museum practice and scientific discourse that has developed around the study of Chinese art in the USSR. The subject of the research is the specifics of designing exhibitions of Chinese art in Soviet art museums and the issues of its historical transformation. The analysis of a number of exhibition events held in Soviet museums and dedicated to Chinese fine art is proposed. During the consideration of the topic, such issues as the factors that influenced the methods of Soviet scientists in planning Chinese expositions, the degree of their effectiveness in relation to communication between the Soviet viewer and works of Chinese fine art are traced. This material is used to reconstruct the process of transformation of Soviet art critics' approaches to presentation and communication in the field of Chinese art. The comparative historical method is used to allow a comparative analysis of the Early Soviet and late Soviet periods in order to comprehend the issues of the evolution of scientific knowledge about Chinese art, approaches to its research, museum presentation and communication in this area. A descriptive method of analyzing exhibitions and collections of Chinese fine art in Soviet museums is used. For the first time, the nature of Soviet museum studies of Chinese fine art is generalized, the approaches of Soviet researchers to presentation and communication in the field of fine art in China are revealed, and their historical transformation is traced. The main conclusions of the study are as follows. The nature of the evolution of Soviet researchers' approaches to presentation and communication in the field of Chinese fine art in USSR museums is determined by the movement towards the development of deep scientific ideas, which in the late Soviet period provide a reliable basis for the effective implementation of certain approaches to exposition planning, the complication of exhibition events, the movement of Soviet museological theory from an ideologized view of exposition material as a means education of a citizen of a new formation, to the perception of an independent artistic idea of exposition works. Since the second half of the 1980s, new principles of artistic communication between the viewer and works of fine art have been formed in the USSR: an independent artistic idea of exposition works is brought to the fore, which provides favorable conditions for the Soviet viewer to perceive traditional Chinese aesthetics as a separate phenomenon of ancient and original Chinese culture.

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Clunas, Craig. "Chinese Art and Chinese Artists in France (1924-1925)." Arts asiatiques 44, no. 1 (1989): 100–106. http://dx.doi.org/10.3406/arasi.1989.1262.

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Zhang, Xiaotong. "[1] Cao, Z. (2022). The Impact of Competence of University Teachers on Work Performance: An Analysis of the Regulating Mechanism Based on Perceived Organizational Support. Journal of Xingyi Ethnic Normal University, 4, 34-43. [2] Chen, N. (2022). Research." Journal of Education and Educational Research 9, no. 1 (June 25, 2024): 100–103. http://dx.doi.org/10.54097/qr7sav38.

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The essence of Chinese art is the crystallization of thousands of years of cultural accumulation, permeating the wisdom and emotions of the Chinese nation, and serving as the carrier and manifestation of the national spirit. However, due to historical reasons, a profound lack of this traditional artistic spirit is evident in modern Chinese art education. The most representative example is the complete focus on Western art as the assessment content and criteria in the art college entrance examination. This article will start with the differences between Eastern and Western artistic spirits to elucidate the uniqueness of Chinese art and ink painting. Furthermore, it will explore the influence of Chinese artistic spirit on the development of Western art from a historical perspective. By tracing its origins, the article aims to demonstrate the importance of Chinese artistic spirit in contemporary Chinese art and the necessity of incorporating it into higher education art examinations.

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36

Lu, Xingjian, and Chang Pan. "Application of the Beauty of Meaning in Chinese Sculpture Art." Scientific and Social Research 6, no. 5 (June 11, 2024): 261–64. http://dx.doi.org/10.26689/ssr.v6i5.6855.

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Chinese sculpturing is a significant form of expression in traditional Chinese art. Like other traditional art forms, Chinese sculpture art is also deeply influenced by the philosophical ideas of its predecessors, striving for the beauty of subtle and implicit meaning in artistic expression. This article provides a brief interpretation of the beauty of meaning in Chinese sculpture art, with a focus on analyzing its application in Chinese sculpture art. This article analyzes the role of the beauty of meaning in the development of Chinese sculpture art from the fields of lines, blocks, surfaces, spatial patterns, and freehand brushwork, to provide reference and inspiration for relevant artists and sculpture designers.

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Wei, Yuan. "A Comparison of Folk Printmaking in China and the West." SHS Web of Conferences 185 (2024): 02007. http://dx.doi.org/10.1051/shsconf/202418502007.

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Chinese and Western popular printmaking art share common roots in primitive art. Deeply ingrained in the daily lives of the masses, Chinese and Western folk printmaking art, with its vibrant artistic energy, has become an integral part of people’s lives. This paper presents a comprehensive overview of popular printmaking in both regions, encompassing its history, representative works, and materials. The development of Chinese art can be broadly categorized into official art and folk art. Chinese popular printmaking art, as an art form directly derived from the people, possesses the characteristics of originality and authenticity. However, throughout Chinese art history, class status and artistic status were intertwined, leading to popular art being often as low-level and vulgar, rather than being recognized as art. In contrast, Western folk printmaking art did not harbor such hierarchical distinctions, instead directly acknowledging the originality and origins of art.

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Zhao, Yiming, and Dongfang Zheng. "Traditional Chinese Mythology in Animation Art." Highlights in Art and Design 3, no. 3 (July 20, 2023): 61–63. http://dx.doi.org/10.54097/hiaad.v3i3.11220.

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Chinese traditional myths, as an important part of Chinese culture, have been widely applied and expressed in animation art. From the perspective of animation art, this paper will discuss in depth the expression forms and expression methods of traditional Chinese myths in animation art, including the use of myth elements in animation, the creation of myth characters, the way of narrating myth plots, and the expression of myth meanings. Through analyzing and comparing related animation works, this paper will explore the performance characteristics of Chinese traditional myths in animation art and its relationship with contemporary animation art, so as to provide reference for the inheritance and development of Chinese traditional culture.

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Huang, Zijie, and Linshun Yang. "Analysis on the Relationship between Art and Image." Scientific and Social Research 3, no. 2 (July 13, 2021): 174–76. http://dx.doi.org/10.36922/ssr.v3i2.1126.

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The framework and ideological system of Chinese art knowledge must be constructed. Through the limitation of Chinese art, the image of Chinese art history system enriches the social functions, and then provides an interpretation of the significance of image for Chinese art culture, indicating the direction of our modern art’s development.

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Gao, Xiang, and Yap Jin Hin. "Interpretating and Performing the Musical Styles of Selected Chinese Art Songs Based on Mao Zedong's Poetry." Arts Studies and Criticism 5, no. 2 (June 21, 2024): 38. http://dx.doi.org/10.32629/asc.v5i2.2195.

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Mao Zedong's poetry significantly influenced Chinese vocal music in the 20th century and has been reflected in the creation of many Chinese Art songs. These songs are highly regarded in the Chinese music industry and are considered great works of Chinese literature and art. However, there is a lack of discussions on Chinese Art Songs based on Mao Zedong's poetry. This research aims to interpret and perform the musical styles of selected Chinese art songs based on Mao Zedong's poetry. This study encompasses three research objectives. The first is to identify the characteristics inherent in Chinese Art Songs based on Mao Zedong's poetry. The second objective involves the interpretation of the technical aspects of Mao Zedong's poetry in the context of Chinese art songs. Lastly, the third objective aims to perform selected Chinese art songs based on Mao Zedong's poetry in the form of recitals. This study will be conducted through the practice-based research framework, wherein textual and non-textual documentation will be utilized to report on the practice. By exploring the integration of Mao Zedong's poetry into art songs, this study provides a distinct approach to interpreting and conveying his poetry's emotions, themes, and ideas.

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Sun, Luchen. "The Artistic Expression and Integration of Traditional Culture in Traditional Chinese Medicine Art: Innovative Paths and Practical Exploration." SHS Web of Conferences 183 (2024): 01016. http://dx.doi.org/10.1051/shsconf/202418301016.

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This article conducts an in-depth study on the artistic expression and integration of traditional culture in traditional Chinese medicine art, proposing strategies for innovative paths and practical exploration. Regarding the resonance and innovation in traditional culture, the article emphasizes the urgency of innovation in traditional Chinese medicine art through the exploration of its traditional cultural roots. It also discusses the balance between traditional culture and modern aesthetics. In the diversified exploration of artistic expression, the article pays attention to the inheritance of artistic conception of Chinese painting attempts to integrate contemporary art forms, and explores the application of multimedia technology in traditional Chinese medicine art. Furthermore, the article delves into the reconstruction of cultural symbols and their global dissemination, including the exploration of the connotations of symbols in traditional Chinese medicine culture, innovative methods for symbol reconstruction, and strategies for the international dissemination of traditional Chinese medicine art. Finally, through practical exploration and prospects, the article proposes specific development directions, such as exhibitions and promotion of traditional Chinese medicine art, innovative practices in traditional Chinese medicine art education, and the deep integration of technology with traditional Chinese medicine art. The aim of this article is to provide beneficial insights for the sustainable development of traditional Chinese medicine art, promoting the display of its unique charm on the international stage.

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Liu, Shanshan, and Nur Qasdina Jeeta Binti Abdullah. "The Impact of New Media on the Development of Chinese Theatre and Opera." Art and Society 2, no. 5 (October 2023): 11–14. http://dx.doi.org/10.56397/as.2023.10.02.

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The art of Chinese opera occupies an important position in the system of Chinese art and literature. Opera contains rich connotations, which are embodied in tragedy art, personality charm and aesthetic appeal. Chinese opera art has a long history. After a long period of development, it has survived to modern times and is still full of unique charm. Today, Chinese opera art needs to be effectively integrated with the current new media channels to continue to provide artistic services to the people. Combined with the relevant cognition of new media channels and Chinese opera art, it analyzes the specific ways for the integration and development of the two.

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Khamwijit, Narong, Emeritus Sakda Pannengpetch, and Raksarn Wannawattawong. "A STUDY ON THE ARTISTIC EXPRESSION OF INK ART OF CHINESE ANIMATION." EUrASEANs: journal on global socio-economic dynamics, no. 3(46) (May 30, 2024): 429–36. http://dx.doi.org/10.35678/2539-5645.3(46).2024.429-436.

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As a treasure of Chinese traditional art, ink art has a unique aesthetic charm and artistic expression. Chinese animation has gradually incorporated ink and wash art, infusing it with distinctive Chinese aesthetic elements. The paper delves into the significance and progression of the integration between ink art and Chinese animation, examining the stages of growth and maturity. It also scrutinizes the artistic expression methods of ink art in Chinese animation, such as the use of white space, compositional techniques, the use of five inks and six colors, and a variety of brush strokes. Finally, it explores the artistic aesthetics of ink art in Chinese animation, emphasizing the beauty of meaning and mood. - We study the artistic aesthetics of ink and wash art in Chinese animation, which encompass the beauty of mood existing between reality and reality, the beauty of chiaroscuro existing between form and spirit, and the beauty of metaphor-implied content.

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Xiao, Chen. "Problems in Chinese Chorus Art and Countermeasures from a Cultural Perspective." Korea Association for Public Value 4 (December 31, 2022): 61–64. http://dx.doi.org/10.53581/jopv.2022.4.1.61.

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Bao, Hongwei. "The new generation: Contemporary Chinese art in the diaspora." Journal of Contemporary Chinese Art 9, no. 1 (July 1, 2022): 3–17. http://dx.doi.org/10.1386/jcca_00053_2.

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This Special Issue of Journal of Contemporary Chinese Art focuses on the social significance and political relevance of diaspora Chinese art in the contemporary era. Although artists and authors may hold different stances towards Chinese and diaspora identities, their works and discussions showcase the importance of identity and identity-inflected art in contemporary times; they also demonstrate the productivity of treating Chinese diaspora art as a valuable subject of study in researching contemporary Chinese art. This editorial essay outlines the social and scholarly contexts related to a new generation of contemporary Chinese diaspora art and artists; it also introduces the structure and content of the Special Issue. The text is arranged in the following order: it first clarifies key words such as ‘diaspora’ and ‘Chinese diaspora’ and introduces scholarly debates surrounding these terms; it then briefly maps the study of contemporary Chinese art in a transnational and diasporic context to articulate the significance and scholarly contribution of the current issue. The essay ends with a mapping of the key topics and themes covered in this issue ‐ which have implications for the study of Chinese diaspora art overall ‐ and a brief outline of the key content and argument of each article.

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Xu, Li. "Research on Chinese Dragon Totem Art." Journal of Education and Educational Research 7, no. 3 (March 3, 2024): 264–67. http://dx.doi.org/10.54097/ef38mz63.

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The Chinese nation has a long history and a rich traditional national culture. In Chinese culture, the dragon is a unique art product of China, which is closely related to the culture and history of the nation, forming the most widely spread and influential "dragon culture". The dragon is the soul of the Chinese nation and the symbol of the great tradition of the Chinese nation. The dragon is a symbol of the cohesion of the Chinese nation, which has been endowed with a noble image and eternal vitality, and has been transformed into a god in people's hearts who can call the winds and the rains, signify misfortune, and be good at transforming the heavens. The image of the dragon also penetrates into all levels of social life, the beauty of the dragon's majesty and dignity, the ideals and spirit of the people, and become a rich cultural symbols and hard to part with the feelings connected to the blood, forming a very rich and valuable national cultural heritage.

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Gao, Xueting. "Negotiating Identity and Ideology: The Research on the Ullens Center for Contemporary Art - Analyzing the Operation and Transformation of the Chinese Contemporary Art Market Through Jean Baudrillard's Theory of Consumer Society." Journal of Education, Humanities and Social Sciences 24 (December 31, 2023): 698–703. http://dx.doi.org/10.54097/cpmemc25.

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This article focuses on the Ullens Center for Contemporary Art as a case study, employing Jean Baudrillard's Consumer Society Theory to analyze the operation and transformation of the Chinese contemporary art market. The study's primary objectives are to dissect the intricacies of the Chinese contemporary art market's operation and its specific evolution path. Additionally, it offers recommendations for future developments and prospects within the contemporary art market, aiming to enhance the global dialogue of Chinese modern art. Baudrillard's Consumer Society Theory provides a strong theoretical foundation for scrutinizing the contemporary art market, enabling a deeper comprehension of its developmental trends. Through this analysis, the paper contributes to improving the quality of Chinese modern art and its international exchanges while bolstering confidence in Chinese culture.

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Meng, Lijun. "Art and Society: Chu Teh-Chun and the Encounter in the Art Field." International Journal of Education and Humanities 3, no. 3 (July 26, 2022): 48–51. http://dx.doi.org/10.54097/ijeh.v3i3.1010.

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Through the process of "being" discovered in the modern art field by Chinese-American academician Chu Teh-chun, this paper finds that the development of modern Chinese art presents a different orientation from the Western "aesthetic autonomy": at the level of reception, the art field is influenced by the political and economic fields; in terms of artistic creation, Chu Teh-chun insists on the "fusion of East and West" and resolves the contradiction between the "aesthetic autonomy" and the social contextualization of Western art sociology in a transcendent way. In his artistic creation, Chu Teh-chun insists on the idea of "integration of East and West", resolving the contradiction between "aesthetic self-discipline" and social contextualization in Western art sociology in a transcendent way. The complete and independent personality of Chinese artists makes the art field different from the traditional art field: Chinese artists still influence the development of the art field in a two-way interaction through the use of unique mediators.

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Ji, Xun. "The Development of Chinese and Foreign Literary Films – Comparison between China and foreign countries." SHS Web of Conferences 193 (2024): 01010. http://dx.doi.org/10.1051/shsconf/202419301010.

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Chinese literary film is a new way of expressing Chinese native culture, inheriting and carrying forward Chinese humanistic feelings in a new form. Since 1948, Chinese literary films have experienced the development, decline and recovery of literary films, and now it is the golden stage of recovery of literary films. The new generation of directors urgently needs to learn from the successful development experience of foreign literary films, add Chinese thinking and Chinese thinking on the basis of the complete foreign art film industry chain, and build Chinese literary films into a new business card of Chinese culture in the 21st century. This article reviews the development history of art films in China, compares it with that of foreign art films, and analyzes the way out suitable for the recovery of Chinese art films by drawing on the successful experience of the development of foreign Nordic art films. Try a new way to help Chinese literary films attract more viewers at home and enter the international stage. With film as the seventh art as the carrier, this paper has stepped out of the new route to carry forward the charm of traditional Chinese culture, created China’s own good films.

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Cohen, Warren I. "Art Collecting as International Relations: Chinese Art and American Culture." Journal of American-East Asian Relations 1, no. 4 (1992): 409–34. http://dx.doi.org/10.1163/187656192x00087.

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