To see the other types of publications on this topic, follow the link: Chinese Genre painting.
Journal articles on the topic 'Chinese Genre painting'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 journal articles for your research on the topic 'Chinese Genre painting.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.
1
Zavyalova, Anna. "“Spring Palace Paintings” in Chinese Traditional Painting." Ideas and Ideals 13, no. 1-2 (March 19, 2021): 414–24. http://dx.doi.org/10.17212/2075-0862-2021-13.1.2-414-424.
Full textAbstract:
The article considers the erotic genre of traditional Chinese art, chun gong hua (‘spring palace paintings’), which was developed in painting. The study uses comparative - historical, cultural and historical methods, as well as methods of systematization, analysis and synthesis. The author traces the formation and evolution of the genre, reveals its specific features. The paper analyzes the system of artistic images of the works of chun gong hua, reveals that they are based on the ideas of Taoism, which are visualized through painting, which made it possible to reveal a second, meaningful plan of paintings filled with metaphors and allegories. Particular attention is paid to the characterization of expressive means, specific techniques and visual techniques of the genre. The study shows that due to the richness of images, artistic and expressive means and techniques, juxtaposition of the conditional and the real, double transformation of nature, the first impression of seemingly pornographic images of naked bodies and erotic scenes is subdued. The high artistry of the ‘spring palace paintings’ allows us to attribute them to the unique works of Chinese traditional art.
2
CHОNG, Dingye. "GENRE-PLOT TYPOLOGY OF INTERIOR DECORATIVE PAINTING IN CHINESE PAINTING OF THE BEGINNING OF THE 21ST CENTURY." HUDPROM: The Ukrainian Art and Design Journal 2023, no. 2 (October 15, 2023): 96–105. http://dx.doi.org/10.33625/hudprom2023.02.096.
Full textAbstract:
The article is devoted to Chinese decorative painting of the beginning of the 21st century. The purpose of the article is the genre-plot typology of the interior decorative painting in Chinese painting of the beginning of the 21st century. It is indicated that the actualization of the problem of the development of interior decorative painting was due to the dynamic urbanization of China, the improvement of the living conditions of ordinary citizens of the country since the beginning of the 21st century. The author examines the state of Chinese and foreign scientific discourse on the mentioned problem. The research methodology is based on the use of both general scientific methods of analysis and special art-scientific ones, namely: the method of morphological typology and the method of analyzing symbolic artistic forms. The given genre-plot typology of the interior decorative painting in Chinese painting of the beginning of the 21st century showed that the problematization of the genre typology of this art branch should take into account both the genre level of the canonical system of Chinese painting and the genre thesaurus of the non-canonical system of decorative painting. These are the so-called “hybrid genres”, which are the result of the use of a fairly diverse global genre thesaurus. The article proves that the plot typology= of modern Chinese interior decorative painting is based on the deep mechanisms of symbolization in the narrative structures of pictorial art forms, which are decisive both for the national artistic and cultural heritage and for modern Chinese decorative painting. The basis of such a typology is the system of “benevolent” ornament, which has been developed in China for thousands of years. In the course of the analysis, several types of plots, which are currently actively produced by artists for the design of private and public interior spaces, were identified, namely: mythological and religious plots, historical plots and genre plots, which also include the so-called “landscape narrative”. The research opens the perspective of studying the festive decorative painting and its genre-plot typology, as well as the compositional and color solution of the decorative painting in Chinese painting of the beginning of the 21st century.
3
Ke, S. "Figurative oil painting in China: from Mao to Nu." Research and methodological works of the National Academy of Visual Arts and Architecture, no. 27 (February 27, 2019): 221–26. http://dx.doi.org/10.33838/naoma.27.2018.221-226.
Full textAbstract:
The range of problems of the influence of realistic art on the genre diversity in Chinese painting is revealed in the article. The processes caused by the cultural revolution and the following historical events in China are shown by the example of the formation of figurative painting during the twentieth century. A variant of the typology of Chinese figurative painting of the studied period is proposed based on the analysis of the most typical paintings.
4
He, Xing, and Eun-Jun Park. "Hair Art with Traditional Chinese Flower-and-Bird Painting as Motives." Korean Society of Beauty and Art 24, no. 1 (March 20, 2023): 151–62. http://dx.doi.org/10.18693/jksba.2023.24.1.151.
Full textAbstract:
This study attempted to suggest a new direction for hair art and provide basic academic data by creating hairstyles based on flower-and-bird paintings. For this, a pilot study was performed on such traditional Chinese paintings, and books and Internet data were collected and analyzed. Then, among four seasons, spring and fall were chosen, and two hairstyles were created for each season, using diverse hairstyling techniques. For spring, ‘Peach Blossom & Turtledove Painting’ and ‘A Painting of Five-colored Parakeet on Blossoming Apricot Tree’ were created while ‘Bird-and-Fruit Painting’ and ‘A Painting of Valley Breeze and Comfort’ were designed for fall. It is anticipated hairstyles created with traditional Chinese flower-and-bird paintings as motives are valuable enough to be displayed as an art genre and that they would make a contribution to the growth and development of hair art.
5
Zhao, Wei. "An Analysis of the Influence of Ancient Chinese Frescoes on Modern Traditional Chinese Realistic Painting." Arts Studies and Criticism 3, no. 2 (July 6, 2022): 189. http://dx.doi.org/10.32629/asc.v3i2.914.
Full textAbstract:
Ancient Chinese fresco painting has a long history and is one of the important art forms of traditional Chinese painting. As a traditional genre of painting in China, traditional Chinese realistic painting has always adhered to the spirit of the times. This paper examines the relationship between ancient Chinese fresco painting and modern Chinese realistic painting, summarising the artistic characteristics of ancient Chinese fresco painting from three perspectives: composition, materials, technique and style, and exploring the inheritance and development of modern Chinese realistic painting on ancient Chinese fresco painting.
6
WANG, Shiru, and Ion SANDU. "THE INFLUENCE OF POLITICAL EVENTS AND IDEOLOGY ON THE FORMATION OF THE PICTURE CONCEPT OF DUNHUANG CAVES FRESCOS." International Journal of Conservation Science 14, no. 4 (December 15, 2023): 1443–62. http://dx.doi.org/10.36868/ijcs.2023.04.13.
Full textAbstract:
The article is devoted to an analysis of the figurative concepts of the Dunhuang cave wall paintings. It was determined that, despite the fact that the Dunhuang wall painting is an example of Buddhist art, it represents a syncretism of Buddhism and local beliefs—Taoism and Confucianism—which manifested itself in the depiction of characters from Buddhism and Taoism in one plot. Dunhuang cave murals are not uniform in style and execution techniques. Its genesis testifies that in the early stages it was a literal borrowing of the ancient Indian traditions of Buddhist mural painting; instead, there was a gradual layering of local painting techniques from the Central Plains of China. This led to the diversification of cave wall paintings of later periods and eventually led to the formation of a specific stylistic direction of "Chinese secular Buddhism," in which realistic painting plays an important role—the portrait genre of benefactors and the landscape genre of "mountains and waters."
7
Meng, Hao. "The Formation of Chinese Still Life Paintings in the Context of the Interaction of Western and Eastern Artistic Traditions." Человек и культура, no. 5 (May 2022): 48–61. http://dx.doi.org/10.25136/2409-8744.2022.5.38791.
Full textAbstract:
Chinese painting of flowers and birds and Western still life paintings are unique, but they have a certain similarity in the representation of objects of the material world. The artists who created them belonged to different cultures, but turned to similar motives, means of expression, as well as artistic materials and techniques of working with them. Gradually, their interaction intensified, which led to borrowings and changes in artistic concepts. The main problem of this study is the parallels in the evolution of the genre of still life paintings in Chinese and Western European painting from the XVII century to the present — the time of the active development of this genre both in the West and in the East. The aim of the research is to find similarities and differences in the approaches of Chinese and Western European artists when creating works in the genre of still life in terms of background construction, composition, color, ways of expressing the idea, as well as the choice of theme and motif of the image. A comparative characteristic of the work of artists of various periods from Caravaggio and Li Song to Marcus Lupertz and Zhou Shaohua, as well as a number of modern Chinese painters, is consistently given. A comprehensive artistic analysis of paintings by various authors shows that at present we can talk about the search for traditions in the creation of still life in the synthesis of the principles of Western European art and Guohua.
8
Ли, Ю. "The Genre of Seascape in the Guohua Technique (An Example of Song Mingyan’s Art)." Nasledie Vekov, no. 2(34) (June 30, 2023): 115–24. http://dx.doi.org/10.36343/sb.2023.34.2.009.
Full textAbstract:
Статья посвящена анализу художественных особенностей морских пейзажей китайского художника Сун Минъюаня – основателя данного жанра в национальной живописи – и их эволюции по мере профессионального становления художника и изменения его эстетических предпочтений. Базу исследования составили работы китайских и российских искусствоведов, изучавших творчество китайского мастера в период с середины 1980-х гг. по начало XXI в. Художник стал первопроходцем в использовании художественных средств выразительного языка гохуа, который ранее считался не способным передать в полной мере всю силу и мощь величественной, порой яростной морской стихии. На примере творчества Сун Минъюаня и его серии картин «Ода морю» определяются возможности и перспективы использования традиционной техники гохуа для создания морских пейзажей, осмысляется процесс ее эволюции в начале XXI столетия, а также выделяются специфические черты китайской версии марины в контексте общемирового художественного процесса. The study examines the emergence of the seascape genre in Chinese art on the example of the works of its main representative, the marine painter Song Mingyuan. The author analyzes the artistic features of his seascapes and their evolution as the artist develops professionally and his aesthetic preferences change. The materials of the study were research of art historians on the works of the Chinese master from the mid-1980s to the early 21st century. The research methods are artistic and stylistic analysis and the iconography of Song Mingyuan’s sea paintings at different stages of his creative life, and the study of documentary materials. The author consistently studies Song Mingyuan’s early works made in the guohua technique and then those created under the influence of his acquaintance with the principles of Western oil painting. Further, the author analyzes the mechanism of the “birth” of the artist’s specific manner in creating maritime paintings through the synthesis of Chinese and Western traditions. The analysis begins with Song Mingyuan’s first work, Unrest at Sea (1986), which already shows the artist’s special attitude to the sea element and manifests hiss search for a new language of artistic expression. Particular attention is paid to the 1980s – the time of the official formation of the “school of the seascape”, when the artist skillfully combines Chinese and Western features, applied innovation in terms of technique and motives, and showed various artistic styles. After acquaintance with oil painting in the 1990s, Song Mingyuan uses color much more boldly and departs from the compositional scheme characteristic of his early works – a combination of rock and sea elements; he increasingly turns to the image of boundless waves and sky. In 2002, Song Mingyuan founds the Sea Stone painting school. During that period, the artist tends to depict coastal waters, but then returns to the sea element again. His image of water becomes more dynamic, complex in color, which is typical for se-i painting. On the example of his works, the artist showed other Chinese painters unique methods and techniques that formed the basis of his authorial system of artistic expression, which absorbed the traditional techniques of Chinese national painting in combination with Western expressive techniques. His students (Zhao Xiyun, Deng Zijing, Lin Qian, and others) now devote their watercolors and oil paintings to the sea and navigation, which reflects the heyday of China’s maritime power.
9
Li, Yue. "The spiritual essence of Chinese seascape art." Культура и искусство, no. 3 (March 2024): 40–49. http://dx.doi.org/10.7256/2454-0625.2024.3.70121.
Full textAbstract:
The article "The Spiritual Essence of Chinese Seascape Art" explores the evolution and specifics of seascape in Chinese painting, in the context of the spiritual and cultural life of China. The genre of seascape in Chinese art began to form relatively late, at the end of the 20th century, and became significant for modern landscape painting. The article pays special attention to the rarity of the depiction of the sea and ocean in traditional Chinese painting, due to philosophical and aesthetic grounds. The changes in the perception of the sea element are analyzed, which reflect the fundamental transformations in the thinking of Chinese society. The research covers the historical period from the end of the XX century to the beginning of the XXI century, revealing the contribution of individual authors and the influence of Western art on the development of the genre. The presented analysis demonstrates how, through the study of marine painting, a unique combination of traditional Chinese and Western aesthetics is revealed, forming a new artistic language and approach to the perception of nature and the sea element. The article uses an integrated approach, including historical and comparative analysis, stylistic interpretation, to explore the evolution of the seascape in Chinese painting and its spiritual and philosophical and aesthetic content. The article explores the spiritual essence of Chinese seascape art, describing its development as a late phenomenon in comparison with Western art and as an important element in modern Chinese painting. Special attention is paid to rethinking traditional artistic methods and approaches to depicting the sea, considering it as evidence of fundamental changes in the spiritual life of Chinese society. The article discusses how the seascape reflects philosophical and aesthetic changes, especially in the last third of the 20th and early 21st centuries. The authors analyze the works of Chinese artists seeking to find unique artistic languages by integrating traditional and Western elements. The novelty of the research lies in a deep analysis of the impact of socio-cultural changes on the formation and development of the seascape in Chinese painting, which allows for a better understanding of the uniqueness and dynamics of this genre in the context of global artistic and cultural trends.
10
Vostrikova, Ekaterina. "THE НWAJOHWA GENRE (BIRD-AND-FLOWER PAINTING)IN KOREAN TRADITIONAL PAINTING OF THE LATE CHOSŎN PERIOD (18th - EARLY 20th CENTURIES)." Scientific and analytical journal Burganov House. The space of culture 17, no. 3 (September 10, 2021): 31–49. http://dx.doi.org/10.36340/2071-6818-2021-17-3-31-49.
Full textAbstract:
This article is devoted to the hwajohwa artistic genre (bird-and-flower painting) of the late Chosŏn period (18th - early 20th centuries). The study identifies the historical and cultural context and traces the stylistic evolution of the bird-andflower genre. The national features inherent in Korean hwajohwa painting, as well as the influence of traditional Chinese styles and Western European painting techniques on the bird-and-flower genre, are noted. The author outlines the leading artists working in this genre. In the 18th century, the bird-and-flower painting in Korea underwent a significant transformation. The work of professional artists Chŏng Sŏn and Pyŏn Sangbyŏk presents a new realistic approach to hwajohwa painting. Artists began to carefully observe the structural characteristics of the depicted objects of wildlife. Also, artist Sim Sajŏng was a recognised master of the bird-and-flower genre. His work was based on the Chinese “southern school” pictorial principles and aesthetics, the influence of which was strong in Korea. Kim Hondo, the leading artist of the late Chosŏn period, actively used traditional landscape as a background for his works with flowers and birds. However, in depicting living creatures, he did not use formal templates, painting birds in realistic nature scenes. Kim Hondo contributed significantly to the development of Korean traditional painting and the hwajohwa genre. The popularity of the bird-and-flower genre in the late Chosŏn period is mainly due to economic growth and the improvement in the welfare of ordinary people. Most of the works of this genre were created by artists from the people. The works were examples of the so-called minhwa folk painting, which developed in accordance with the requests of a new customer, a native of the lower and middle classes. Such works combined auspicious symbols and were the embodiment of the highest harmony of nature. However, they also began to be used simply to decorate the house. In the hwajohwa painting of the 19th century, a new approach to the depiction of an artist’s personal experiences was reflected; such trends were mixed with the traditional “painting of ideas”. The birdand-flower genre acquired a free style and conveyed fresh aesthetic feelings under the influence of the work of artist Chang Sŭngŏp, whose pictorial approaches were continued and developed by masters at the very end of the Chosŏn era.
11
Deng, Xiaoying, and Xingmei Xu. "Analysis of the Formal Language in Contemporary Minority Nationality-Themed Fine Brushwork Figure Painting." Economic Society and Humanities 1, no. 1 (January 2024): 61–65. http://dx.doi.org/10.62381/e244111.
Full textAbstract:
Minority nationality-themed fine brushwork figure paintings, focusing on the portrayal of ethnic minority people, represent a unique genre dedicated to depicting the spirit of ethnic minority people. It occupies a distinctive niche within the broader continuum of Chinese art, carrying forward the creative passion and artistic pursuit of each generation of fine brushwork artists towards minority culture. With the progress and development of the times, classic works have always been the treasure of artistic creation in this genre. These thematic paintings manifest profound artistic expression and regional characters, especially exhibiting ethnic distinctiveness in their formal language. To be outstanding, creators must achieve a comprehensive understanding of the formal language of this genre, thus only by respecting the cultures of the minority areas and optimizing the creation can this type of painting innovate and develop, staying true to its roots while encouraging innovation.
12
Wang, Shue. "Modern Chinese painting on military themes: "new realism" and loyalty to traditions." Человек и культура, no. 4 (April 2022): 46–56. http://dx.doi.org/10.25136/2409-8744.2022.4.38497.
Full textAbstract:
In the contemporary art of China, a special role belongs to painting on a military theme. Its formation began in connection with the need to keep a visual chronicle of the revolutionary struggle for the New China, the assertion of its status in the eyes of the people. Initially, realism was chosen as the main artistic method. By the turn of the XX and XXI centuries, as a result of the influence of modern art trends, a "new realism" emerged. The subject of this article is the pictorial work of contemporary Chinese artists who dedicate their paintings to military subjects and themes. He pays special attention to the art criticism analysis of the formal and substantive side of the paintings of the late XX – early XXI centuries. The main conclusion of the study is the establishment of the fact that under the influence of the so-called "new realism" Chinese painting associated with images of war, army, navy, has changed in the direction of images relevant to the era, as well as methods and techniques of image construction. However, at the same time, it should be noted that there is still a connection with traditions, which allows us to characterize the process of evolution of the Chinese school of battle painting. The novelty of the article is the introduction to the scientific circulation of Russian art criticism of a series of paintings by Chinese masters devoted to military topics. In general, the battle genre in Chinese painting is associated in the work with the formation of the People's Republic of China and is considered in a political and socio-cultural context.
13
Korniev, A., and Zhe Zhang. "The world of things in traditional Chinese painting." Culture of Ukraine, no. 78 (December 23, 2022): 119–25. http://dx.doi.org/10.31516/2410-5325.078.15.
Full textAbstract:
The relevance of the article. The formation of genre and the principles of genre classification in the art of East Asian countries is one of the least researched problems in the theory and history of art. It is generally accepted that still life appeared in the art of China as a result of the influence of the Euro-pean artistic system. Meanwhile, motifs related to the depiction of elements of the subject environment can be traced in other genres of Chinese painting. In modern artistic practice, still life is considered mainly as an element of academic education, but its creative potential remains little realized. Therefore, the relevance of the research is determined by the needs of both theory and artistic practice.
The purpose of the article is to determine the main approaches to the depiction of things, their typological complexes, their role and significance in Chinese classical art.
The methodology. In the research we used general scientific and special research methods. In particular, methods of systematization, content analysis and typology were applied; methods of formal, stylistic, semantic, comparative analysis.
The results. The article outlines the main approaches to studying the origins of still life as a genre in the Chinese artistic tradition. As a result of the analysis of samples of easel and decorative painting, the main models of the representation of things were revealed, their typology, role and means of representation in the visual and content structure of the works were determined. The semantic aspects of pictorial motifs and their connections with the development of handicrafts, Confucian education, tastes and values of the privileged top of society and the development of collecting, are highlighted.
The scientific novelty. For the first time, in the work we touched upon the issue of the formation of still life as a genre and its origins in Chinese painting, highlighted the previous artistic experience of depicting objects of the material environment, defined the main thematic complexes, established their role and significance in classical works.
The practical significance. The results of the research can be used in the development of educational courses in the history of art and provide the necessary material both for creative experiments and for the development of various projects in the field of visual arts.
Conclusions. The results of the analysis of various materials of fine art allow us to claim that in Chinese classical art, other, different from European, options for the representation of the world of things were formed. Typologically, they are represented by three models: a “portrait” of a thing (a close-up of one object with a careful depicting of form and decoration), a thing as a component of a portrait, a catalogue of things (a decorative composition on the theme “4 treasures of a scientist”, “4 noble arts”, “100 antiquities”). In all models, the depicted objects act as personifications of material and spiritual values of society, a sign of Confucian virtues, and as benevolent symbols. The “100 antiquities” complex, which was formed by XVIII century, combined previous lists of valuable things and became a reflection of craft achievements, educational tradition and awareness of its value, and the development of collecting.
14
GAO, Xiaotian. "WALL PAINTING IN THE NON-CANONICAL TYPOLOGY OF THE GENRE-SPECIES STRUCTURE OF CHINESE FINE ART." HUDPROM: The Ukrainian Art and Design Journal 2023, no. 2 (October 15, 2023): 87–95. http://dx.doi.org/10.33625/hudprom2023.02.087.
Full textAbstract:
The article deals with a non-canonical art practice in modern Chinese fine art, mural painting of public spaces. The actualization of the above-mentioned problem is caused by the appearance of changes and supplements to the morphological system of Chinese fine art: Chinese state has opened up to the world, dynamic urbanization has begun, the attitude of the society to public spaces and the tasks of mural painting in their visualization have changed. The purpose of the article is to understand the place of modern wall painting in the non-canonical structure of fine art in China at the beginning of the 21st century. The research methodology is based on the methods of both general theoretical analysis and formal-stylistic and compositional-coloristic analysis of works of art. The author analyzes publications in which the state of Chinese and foreign scientific discourse on the specified problem is investigated. Based on the examples of the analysis of the wall painting of Shanghai, Nanjing, Mianyang, and various Chinese villages, the main stylistic, compositional and coloristic means of artistic expressiveness of the murals of the 2020s are determined, and the functional features of modern wall painting as a non-canonical art practice of the latest Chinese fine art are revealed. It has been proven that at the beginning of the 21st century a non-canonical structure of fine art, dialogic in its communicative nature, began to form in the country, which is a part of general processes in the field of modern art. It is stated that today Chinese muralism is in the initial stage of its formation. The study of stylistic, compositional and coloristic means of artistic expressiveness of works of modern wall painting, which appeared at the beginning of the 21st century in China, allows us to assert that the main artistic style of modern wall painting remains realism and its varieties, hyperrealism and photorealism, focused on fairly traditional compositional solutions, but a bright color range. Considering the lack of systematic morphological studies of the fine art of modern China, we believe it necessary to continue analyzing the latest art practices, which today make up the non-canonical structure of the country’s fine art.
15
Lee, Yeonju. "The Increase in the Commissioning of Paintings during the Late Joseon Period and Its Impact." Korean Journal of Art History 315 (September 30, 2022): 177–212. http://dx.doi.org/10.31065/kjah.315.202209.006.
Full textAbstract:
The late Joseon period witnessed significant growth in the commissioning of paintings. This increased demand for paintings, which led to changes in the production and consumption of paintings, is evidenced by the increased number of painting inscriptions that specified the names of clients. Those painting inscriptions indicate that the client placed an order to the painter in person, via a broker, or through correspondence. They also reveal which pictorial subjects were particularly favored by clients. For instance, demand for paintings of true-view landscape of the client’s family hometown or of famous scenic places was particularly high among scholarofficials, and yet demand for conceptual landscape paintings still remained high. The portrait was emblematic of the genre of paintings that were to be commissioned first. Aspirations to take pleasure in Chinese literati culture were expressed in the consumption of narrative figure paintings. The subject of immortals, which symbolized the wish for longevity, and the subjects of flowers, plants, birds, and animals, which served as auspicious decoration, also gained currency as the basis of demand for painting broadened. The terms of commissioning paintings as formed in the late Joseon continuously shaped the painterly practice even after the fall of the Joseon, heralding the way paintings were distributed and consumed in modern Korea.
16
Gultyaeva, Galina S. "CHINESE NATIONAL PICTURE NIANHUA – A PHENOMENON OF CULTURE OF THE XX CENTURE." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 41 (2021): 127–38. http://dx.doi.org/10.17223/22220836/41/10.
Full textAbstract:
Chinese folk painting nianhua (literal translation, “New Year’s picture”) is a kind of Chinese graphic art, which received a wide popularity in the late XIX – early XX centuries. On the eve of the New Year in China everywhere decorated interiors of living rooms with colorful pictures containing New Year’s greetings, they were pasted on windows, doors, gates. Decorative pictures had a utilitarian and cultic purpose: images of mythological characters and gods symbolized happiness, longevity, prosperity, protected from disasters and misfortunes. At the beginning of the 20th century, nianhua was produced in the woodcutting shops in a woodcut way, since the middle of the 20th century have been used modern technologies, including printing. New Year’s paintings significantly different from national academic painting. The philosophical concept of New Year’s painting was to reflect the spiritual life of the people, moral values, and artistic tastes. The images were built on the basis of folklore motifs, a rhythmic combination of bright colors created a decorative effect, so nianhua is a valuable material that demonstrates the aesthetic representations of the Chinese people, their folk traditions and symbols. The themes of the New Year’s paintings are extremely diverse and includes the following: scenes from classical literature, religious and symbolic and benevolent drawings, genre art painting, calendars depicting 12 cyclic signs of animals, agricultural calendars and advertising pictures. During the history of its existence, the New Year’s picture plays an important political and ideological role. Traditional paintings propagated the foundations of the orthodox Confucian ideology about social and ethical relationships, including hierarchy in the family and society: “Wu lun – the five principles of relationships”, “Xiao – filial piety”, “Ren – patience”. In the second half of the XX century, the New Year's picture is developing as an agitational poster. Under the influence of European painting and modern political processes in Chinese society, artists began to use a new artistic method - revolutionary realism on purpose to illuminate sociopolitical events, propagandize government tasks and resolutions. The basic principles of painting the New Year’s picture are the decorative character (the brightness of colors, the rhythmic combination of color spots), the hyperbolism and idealization of images, the folklore basis of plots and the conventional symbolic-metaphoric language.
17
Laing, Ellen Johnston, and Maggie Bickford. "Ink Plum: The Making of a Chinese Scholar-Painting Genre." Chinese Literature: Essays, Articles, Reviews (CLEAR) 19 (December 1997): 150. http://dx.doi.org/10.2307/495097.
Full text
18
Harrist, Robert E., and Maggie Bickford. "Ink Plum: The Making of a Chinese Scholar-Painting Genre." Artibus Asiae 59, no. 1/2 (1999): 143. http://dx.doi.org/10.2307/3249866.
Full text
19
Sturman, Peter, and Maggie Bickford. "Ink Plum: The Making of a Chinese Scholar-Painting Genre." Harvard Journal of Asiatic Studies 59, no. 2 (December 1999): 637. http://dx.doi.org/10.2307/2652730.
Full text
20
Blanchard, Lara C. W. "Defining a Female Subjectivity." positions: asia critique 28, no. 1 (February 1, 2020): 177–205. http://dx.doi.org/10.1215/10679847-7913106.
Full textAbstract:
Cui Xiuwen (b. 1970) and Yu Hong (b. 1966) are contemporary Chinese artists whose images of women reflect a complicated gendered perspective. This article focuses on Cui’s Ladies’ Room (2000) and Yu’s Female Writer (2004, from the series She). Both can be construed as feminist reinterpretations of Chinese works of the imperial era that represented idealized female figures from a male perspective. Ladies’ Room, a video that shows behind-the-scenes images of sex workers in a nightclub washroom, brings to mind earlier paintings that depict women in feminine space. Ladies’ Room, however, incorporates multiple female gazes: not only that of the artist but also those of the subjects, who look at each other and at their own mirror reflections. Female Writer, a diptych consisting of a photograph and painting of the writer Zhao Bo, recalls paintings from the “beautiful women” genre. Though both photograph and painting reflect Yu Hong’s point of view, Zhao Bo was permitted to select her photograph, and thus the work engages with both author’s and subject’s gaze. Ladies’ Room and Female Writer both reclaim female subjectivity as they present images of contemporary Chinese women while also grappling with problems of authenticity, the public/private dichotomy, identity, and self-expression.
21
Duan, Lian. "The Peircean order of signification and its encoding system in Chinese landscape painting." Semiotica 2018, no. 221 (March 26, 2018): 199–218. http://dx.doi.org/10.1515/sem-2015-0032.
Full textAbstract:
AbstractApplying Peirce’s semiotics to the study of art history, this essay explores the order of signification in the Peircean theory and the visual order in Chinese landscape painting. Since the purpose of Chinese landscape painting is not simply to represent the beauty of scenery but to encode and manifest the philosophy of Tao, then, the author argues that the establishment of the encoding mechanism in Chinese landscape painting signifies the origination, development, and establishment of this genre in Chinese art history. In this essay, the Peircean order of signification is described as a T-shaped structure, consisting of a horizontal dimension of signs (icon, index, and symbol) while and a vertical dimension of the signification process (representamen, interpretant, and object). Correspondingly, the visual order in Chinese landscape painting is also described as a T-shaped structure as well: the horizontal dimension at the formal level consists of three signs (mountain path, flowing water, and floating air, the three constitute a compound sign), while the vertical dimension at the ideological level consists of three concepts (the way in nature, the metaphysical Way of nature, and the Tao). The significance of this order is found in re-interpreting the formation of landscape painting in Chinese art history.
22
Chang, Rui. "Interpretation of the symbols of "snow painting" in Chinese art as a reflection of the process of changes in national religious, philosophical and aesthetic concepts." Культура и искусство, no. 12 (December 2023): 166–76. http://dx.doi.org/10.7256/2454-0625.2023.12.69274.
Full textAbstract:
The article examines the symbolism of "snow painting" in the context of the development of a range of motifs and means of artistic expression, techniques of execution, which artists have chosen since the inception of this type of landscape genre to the modern situation. This analysis is implemented in the context of changes in the reception and reflection of elements of winter species caused by transformations in the worldview of people of a particular era occurring in the socio-cultural sphere. The object of research is the winter landscape in Chinese painting of the III – late XX century. The subject of the study is the symbolic system in the construction of artistic space in the winter landscape in Chinese painting of the specified period. The purpose of the study is to determine the features of spatial worldview in the "snow painting" of China in the context of national aesthetic and philosophical ideas. The research methodology is interdisciplinary and includes the study of the organization of space and the interpretation of its symbolic content in the paintings of Chinese landscape painters who turned to the image of winter and the motif of snow at different historical stages. When considering and analyzing works of Chinese painting, the iconographic method and stylistic analysis are used. The novelty of the study lies in the fact that it clarifies the concept of "snow painting" in the context of the development of Chinese fine art, identifies the circle of authors who addressed it, establishes a certain continuity in the artistic, stylistic and compositional techniques used by them, as well as the philosophical and aesthetic concepts behind them. The latter are directly related to the specifics of creating such works, as well as the means of modeling space by artists, which is revealed in the conclusions of the study. Within the framework of the analysis, the range of frequently used motifs and images is determined, their interpretation of the symbolic meanings associated with them are proposed. Snow in such painting is considered as a symbol of beauty, loyalty, nobility, as well as part of the "emptiness" in the artistic space of the painting.
23
Lu, Sa. "The Ideological Foundations of Chinese Traditional Landscape Painting Art." Философия и культура, no. 10 (October 2022): 144–57. http://dx.doi.org/10.7256/2454-0757.2022.10.38818.
Full textAbstract:
The article analyzes the ideological foundations of the emergence and evolution of landscape in Chinese painting as an independent genre from the III to the XVIII century, before the rapid integration of Western European artistic traditions. Landscape painting is considered as an expression of the state of mind of Chinese artists, the prevailing philosophical ideas, in particular Taoism, the embodiment of literary images associated with the natural origin. Despite the attention of the scientific community to the development of images of nature in the art of ancient and modern China, there are few studies devoted to the causes and justification of certain processes that influenced the formation of the genre. The purpose of the study is to analyze the reasons for the appearance of images and motifs in the landscapes of Chinese artists in connection with the philosophical ideas of that time, cultural connotations in poetry and the principles of landscape art. The tasks include determining the most typical range of scenes and images in landscapes created from the III to XVIII centuries. The material is the work of Chinese artists who lived since the reign of the Wei Dynasty, during the heyday of landscapes in the era of the Tang Dynasty and up to the XVIII century. Of interest is the study of the mechanism of influence on the formation of figurative systems in Chinese landscape painting that developed in parallel poetry and landscape art.
24
Prasolova, Marina. "Chinese Fine Art of the 3rd Century: On the Initial Stage of Development of Painting." Asian Studies, no. 1 (December 1, 2011): 51–62. http://dx.doi.org/10.4312/as.2011.-15.1.51-62.
Full textAbstract:
The paper summarizes the extant written data on Chinese painting on silk in the initial century of the Period of Disunion (Six Dynasties, Liu chao, III–VI A.D.), known as the Sanguo (220–280) and the Western Jin (265–317) epochs. While it is scattered among diverse sources, it is mainly in the Lidai minghua ji treatise of Zhang Yanyuan (ca. 810–ca. 990). An analysis of accounts of individual masters and their creative activities attempts to reconstruct the probable artistic and essential features of pieces of art lost afterwards, offering a novel explanation of the initial stage of the formative process of an important genre of composition in Chinese painting and culture.
25
Неглинская, М. А. "Evolution of the still life in Chinese ink painting (the first half of the 20th century)." Iskusstvo Evrazii [The Art of Eurasia], no. 2(33) (June 28, 2024): 72–81. http://dx.doi.org/10.46748/arteuras.2024.02.005.
Full textAbstract:
Цель статьи — обобщить развитие жанра натюрморт в традиционной для Китая тушевой живописи гохуа 1910–1950-х годов. Исследованы предметные композиции ведущих мастеров — У Чаншо и Ци Байши. Период их творческого подъема сопровождался резкими социальными переменами в китайском обществе, с чем связана политизация искусства, затронувшая и созданные художниками живописные натюрморты. Жанровые и стилевые новации мастеров гохуа первой половины ХХ века способствовали рождению современного китайского искусства. В статье проанализировано соответствие смысла живописных изображений и каллиграфии. Автор исходит из установленного ранее факта: начало китайскому натюрморту положили композиции XVIII века, изображающие «сто древних предметов» (байгу) и новогоднюю инсталляцию (суйчжао-ту). В статье показано сохранение традиций и обновление тематики в китайских натюрмортах постимператорского периода. The purpose of the article is to summarise the development of the still life genre in the traditional Chinese ink painting Guohua of the 1910s–1950s. The subject compositions of the leading masters, Wu Changshuo and Qi Baishi, have been studied. The period of their creative rise was accompanied by dramatic social changes in Chinese society, which was associated with the politicisation of art and also affected the still life paintings created by the artists. The genre and style innovations of two Guohua masters during the first half of twentieth century contributed to the birth of modern Chinese art. The article analyses the correspondence between the meaning of pictorial images and calligraphy. The author proceeds from the previously established fact: the beginning of Chinese still life was laid by the 18th century compositions depicting One Hundred Ancient Objects (Baigu) and the New Year's installation (Suizhao-tu). The article shows the preservation of traditions and renewal of themes in Chinese still lifes of the post-imperial period.
26
Wang, Xiao Yu, and Dong Kwan Yoo. "The occurrence type of visual humor in Korean and Chinese genre painting." Journal of Basic Design & Art 23, no. 5 (October 31, 2022): 295–308. http://dx.doi.org/10.47294/ksbda.23.5.21.
Full text
27
Meng, Hao. "The Development of Still-life Painting in China in the Second Half of the Twentieth Century Under the Influence of Russian-Soviet and Western Art." Философия и культура, no. 9 (September 2022): 121–32. http://dx.doi.org/10.7256/2454-0757.2022.9.38692.
Full textAbstract:
Still life as an independent painting genre in Chinese fine art was formed in the second half of the XX century under the strong influence, first of all, of Western European and Russian, and then American art. This relatively short period of time includes several periods at once, in which one or another influence dominated. However, it was the integration of the ideas and principles of foreign art schools that allowed Chinese masters to develop those features of the artistic and figurative language that determined the features of the genre of still life in the space of modern art. The object of the article is the process of development of Chinese still life in the second half of the twentieth century, the subject is a set of expressive and artistic means used by Chinese artists to create a still life under the influence of foreign artistic trends. This article aims to determine the place and features of the genre of still life in the works of Chinese painters of the second half of the XX century, as well as to characterize the conformity of this genre to the trends of Russian and Soviet, as well as European art. The study concluded that this genre received rapid development in the second half of the XX century, which occurred under continuous foreign artistic influence. The occupation of a strong position in the space of Chinese art by still life and the formation of its original character with national specifics occurred at the end of the twentieth century.
28
Chin, Gail. "Creating From Ashes: Huang Zhongyang’s Memories of The Shadow of Mao." Journal of American-East Asian Relations 20, no. 2-3 (2013): 234–55. http://dx.doi.org/10.1163/18765610-02003017.
Full textAbstract:
As new immigrants to Canada, Regina painter Huang Zhongyang and other cultural workers add to our diverse visual heritage. Although he left the People’s Republic of China after the end of the Chinese Cultural Revolution, his memories of senseless violence, with Communist leader Mao Zedong pitting neighbor against neighbor, son against father, scarred his psyche, which he has turned into oil paintings. These paintings of Huang’s memories of the Cultural Revolution rarely are displayed publicly, except occasionally. The intent of this article is to discuss his paintings in relation to actual events during the 1960s to 1970s. History painting, a 19th Century European genre, has become a bygone category of art, but in the hands of Huang, memory, a postmodern concern, is aroused by these very poignant images often created after popular images taken from newspapers and television, thus reflecting the contemporary interest in photographs.
29
LIU, Mingxuan. "REPRESENTATION OF THE CITY IN TRADITIONAL CHINESE GOHUA PAINTING: MOTIFS, TYPOLOGY, PICTORIAL AND STYLISTIC FEATURES." HUDPROM: The Ukrainian Art and Design Journal 2023, no. 2 (October 15, 2023): 57–65. http://dx.doi.org/10.33625/hudprom2023.02.057.
Full textAbstract:
The representation of the city in traditional Chinese painting has certain features and traditions that distinguish it from the representation of urban imagery in Western art. First of all, this is an artistic generalization of the urban landscape as part of the artistic context of nature. It is also important to focus attention on the depicted identities of the urban space (houses, streets, bridges, as well as the nature that surrounds the city, etc.). In addition to this, gohua in its historical development has an obvious tendency to panoramicity and a generalized way of perception, which actualizes a special system of artistic motifs. Within the historical context of Chinese painting, the city often has a symbolic meaning, and its visuality is represented through the symbolism of color, space or emblems. After all, the use of traditional artistic materials and techniques is of great importance, which determines the palette of artistic techniques and directly affects the artistic motifs of the representation of the city. The representation of the city within the gohua reflects the peculiarities of Chinese culture and perception of the world. Cities are considered as part of nature and interconnected with it. This approach gives works of art depth and symbolic meaning. It is substantiated that the cityscape in the context of the general phenomenology of guohua has its own conceptual and terminological niche, which can be translated as “urban ink painting” (都市水墨). In turn, within this niche, the most popular artistic technique is “meticulous painting” (gongbi /工笔画; literally, “working with a brush”). The following typical pictorial and stylistic features of the urban landscape genre within Chinese ink painting, which are characteristic of the modern stage of development of Chinese fine art, have been established: 1) Expressiveness, which is expressed in the artist’s effort to convey not only the appearance of the city landscape, but also the emotional reaction to the landscape; 2) Minimalism: the desire to build an artistic foundation with the minimum number of colors and elements and focus on the expressiveness of details; 3) Line graphics: as a sign reflects the European approach to understanding the technique and imagery of Chinese painting; in the urban landscape genre, it affects imagery by conveying the shapes and contours of objects; 4) Contrast, with the help of which artists create volume, depth and texture of the urban landscape; 5) A separate artistic parameter is symbolism, which is a field of interpretation of the general pictorial and stylistic repertoire
30
Liu, Mingxuan. "The Image of a City in Chinese Landscape Painting a Scientific Discourse in Chinese Historiography." Vìsnik Harkìvsʹkoi deržavnoi akademìi dizajnu ì mistectv 2022, no. 1 (January 15, 2022): 117–29. http://dx.doi.org/10.33625/visnik2022.01.117.
Full textAbstract:
The article analyzes the phenomenon of the urban landscape, which is a notable phenomenon in modern Chinese art history. In this direction, the researchers consider not only the genre originality of the urban landscape, but also artistic models of the representation of the city image in painting. The urban landscape acquires independent forms within the framework of Chinese art through comparative practices of matching and comparison with Western artistic genesis. Already in the early 2000s, Chinese art historians were actively looking for new models for presentation of traditional art. At the same time, their desire to preserve traditional artistic achievements necessitated the identification of innovative and modern forms of Chinese art, which became notable artistic phenomena during the second half of the twentieth century. In Chinese “urban” painting, one of the central themes is the issue of modernization, which develops from two perspectives: a) urbanistic, which is aimed at the artistic generalization of various forms of urban life and landscape; b) in the direction of retro, which expresses a steady interest in the images of “old” China — urban landscapes and pictures of urban life, representing the aesthetics of the disappearance of traditional “small” China towns. For the current stage of development of fine arts in China, the image of the city in the context of regionalism and ethnic specificity is of great importance. The images of the city are directly related to the characteristic models of visual representation of the regions of China. Regions differ both in ways and norms of life (for example, small towns and conglomerate metropolitan areas) and in the variety of landscapes (for example, sea-side, mountain and plain). This factor is the cause of additional difficulties in defining the urban landscape as a genre of art. Certain features are analyzed on the example of the works of such outstanding masters of Chinese fine arts Yan Wanliang and Dai Shihe.
31
Ganza, Kenneth. "Ink Plum: The Making of a Chinese Scholar-Painting Genre (review)." China Review International 5, no. 1 (1998): 67–69. http://dx.doi.org/10.1353/cri.1998.0114.
Full text
32
Bush, Susan. "Ink Plum: The Making of a Chinese Scholar-Painting Genre (review)." China Review International 5, no. 2 (1998): 365–70. http://dx.doi.org/10.1353/cri.1998.0121.
Full text
33
Vatkova, Olga. "BULGARIAN AND CHINESE WATERCOLORISTS IN JOINT PARTICIPATION IN THE 2ND INTERNATIONAL TRIENNIAL “WATERCOLOR&SPIRIT”, VARNA, BULGARIA." Diplomatic Economic and Cultural Relations between China and Central and Eastern European countries 7, no. 1 (April 1, 2022): 413–19. http://dx.doi.org/10.62635/q3qk-4rdj.
Full textAbstract:
The International Triennial “Watercolour&Spirit” in the city of Varna is a form of presentation of the art of watercolour painting, held every three years. Launched in 2016 and held again in 2019, the Triennale has undoubtedly become a unique phenomenon in Bulgaria, an international platform for communication and artistic exchange. The festival has aroused great interest among Chinese watercolourists. Chinese participation in this prestigious forum showed the willingness of the artists to strengthen cultural ties between Bulgaria and China.This article gives a brief overview of the works of watercolour painting and their authors – participants from Bulgaria and China. Emphasis is placed on the genre preferences of the painters who presented their works. The author relies on the material from the exhibition catalogue, as well as on her own experience as a participant in the Triennale.
34
Kotlyar, Eugeny. "The Image of the City in Chinese Cultural Tradition and Visual Practice: from the Middle Ages to the Early Modern Period." Bulletin of Lviv National Academy of Arts 50, no. 50 (July 15, 2023): 37–49. http://dx.doi.org/10.37131/2524-0943-2023-50-6.
Full textAbstract:
The article examines the problem of the artistic evolution of the image of the city in Chinese fine art. The focus of the authors’ attention is the study of the main stages of the development of the urban landscape genre. The purpose of the article is the analysis of the main stages of the development of the urban landscape genre in Chinese art, as well as the study of its structural formalization and the formation of the repertoire from the Middle Ages to the early modern period. The subject of the research is Chinese art history discourse. The works of Chinese fine art of historical periods were used. The authors found out that the development of the urban landscape genre is connected with the general evolution of the Chinese cultural tradition and its visual forms. They are a constant factor influencing the formation of visual tradition. The article defines two stages of development of the urban landscape genre paradigm. The first continues from the time of the emergence of permanent pictorial forms (X century). Later, during the period of the Song dynasty (XII–XIII centuries) and the period of the Ming dynasty (XIV–XVII centuries), visual culture involved the urban landscape and urban everyday practices in the general artistic space of painting. In the context of the evolution of art during the Qing dynasty (XVII–XIX centuries), the urban landscape is represented for the first time with the help of genre features. According to the authors, these signs should be presented in the form of a combination of three components: 1) urban architectural landscape; 2) representations of typical models of urban life; 3) reproduction of typical city "cultural heroes". The authors prove that the evolution of the urban landscape genre at various stages of development is connected with the processes of self-awareness of Chinese art and the determination of the forms of its identity.
35
Bein, Pavel V. "Taoist Painting during the Tang and Song Eras: The View of Russian Orientalists." Oriental Courier, no. 2 (2023): 287. http://dx.doi.org/10.18254/s268684310026710-9.
Full textAbstract:
The paper is an attempt to examine several key works of orientalists of the domestic (Soviet and Russian) schools of the last century, whose activities were aimed at analyzing the theoretical foundations, genre-typological, compositional aspects, and other aspects of both classical Chinese painting as a whole and its cult component, largely expressed by Taoist creativity. The comprehensive growth of interest in the spiritual culture of China, one of the oldest and most distinctive value systems, observed now (2023), as well as the gradual penetration of its basic features into modern life, prompt us to pay increased attention to the question of the degree of development of the relevant issues in the scientific environment of Russia. Undeservedly remaining for a long time on the periphery of the sphere of research of Russian sinologists, Chinese art needed Russian-language publications not only large monographs of a generalizing nature, but also works focusing on narrower issues, including coverage of the Taoist painting tradition. The period covered (1948-2004), the prerequisites of which were laid at the early stage of the existence of the Soviet state (20-30-ies, 20th century), became, despite the trend of long-termism, convincing evidence of the confident pace of development of the art direction of Russian orientalism. The result of the efforts of the authors presented on the pages (O. N. Glukharyova and B. P. Denicke (“A Brief History of Chinese Art”, 1948), E. V. Zavadskaya (“Aesthetic Problems of Painting in Old China”, 1976), N. A. Vinogradova (“Chinese Landscape Painting”, 1972)), which described the significant properties of Chinese art, was the formation of a strong framework, which with the advent of the 21st century allowed to open a new milestone in the field of cultural and historical research of Russian Oriental studies. The quintessence of this phenomenon is the publication in 2004 of a comprehensive manual by M. E. Kravtsova “World Art Culture. History of Chinese Art: Textbook”, which at the same time absorbed all the material accumulated during the 20th century and expanded the previously formed horizons of knowledge. Significant attention on the pages of the work is paid, among other things, to cult creativity as one of the most important engines of the processes of evolution of traditional Chinese painting.
36
Wang, Xinan. "Historical costumes in films of the Wuxia genre: origins and interpretation." Философия и культура, no. 6 (June 2024): 219–26. http://dx.doi.org/10.7256/2454-0757.2024.6.70826.
Full textAbstract:
The object of the study is a screen costume in cinema as an element of the visual and artistic-figurative system of a Chinese film in the genre of "wuxia". The subject of the study is the problem of the formation of historical costume in the films of Wuxia, the historical and cultural origins of the costume and the peculiarities of interpretation in various films of Wuxia. Such issues as the degree of study of the topic under consideration and a number of paintings from the late 1970s to the 1980s are analyzed. The analysis of the works reveals the specifics of the costume in Wuxia films, its relationship with traditional Chinese theater. Special attention is paid to the analysis of examples of the use of color in a costume as an expression of personality, social status and other characteristics of a character. The questions about the methods of displaying gender identity in a suit were raised. The methodology of the research consists in using a systematic approach at the intersection of art criticism, aesthetics, art practice, painting, film studies and film criticism. A systematic method, a historical and cultural method, and a system-structural analysis are used, which made it possible to consider the costumes of the characters as an integral part of the artistic concept of films by Chinese directors. The work provides a comprehensive study of the screen costume as a visual and expressive means, which helps to create a film image in the context of an artistic and imaginative solution to the subject-spatial environment of a Chinese film using the example of the Wuxia genre. For the first time, the historical and cultural origins of the costume are established at the stage of formation of the genre in cinema. The interpretive techniques and principles of Chinese directors in the use of costume in Wuxia films of the late 1970s - 1980s are revealed. The interpretation of the costume in the works of various Wuxia film directors is largely consistent with the traditional principles of the Beijing Opera. The hero's costume is perceived as an important means of communication with the viewer, visualization of the social status, clan affiliation, personality and emotional experiences of the heroes. Chinese directors of Wuxia films generally adhere to realism in the depiction of costumes of a number of socially labeled characters: a warrior (for example, a samurai), a monk, etc. Weapons make up the most important part of the character's costume, the type of weapon is also clearly consistent with his image, expressing primarily the social status of the hero.
37
Li, Yue, and Galina V. Alekseeva. "“Formula of Water” in the Iconography of Landscape Painting in Medieval China." Observatory of Culture 20, no. 5 (November 2, 2023): 550–59. http://dx.doi.org/10.25281/2072-3156-2023-20-5-550-559.
Full textAbstract:
The theme of the sea in traditional Chinese painting is associated with the last decades of the development of the country’s artistic life, in particular with painting on the theme of the sea and ocean. The aim of the study is to determine the peculiarities of the embodiment of the image of the sea element in Chinese painting of the Middle Ages as a basis for the development of the marina genre in modern art. In the works of masters of the Song (960—1279), Yuan (1271—1368) and Ming (1368—1644) dynasties one can notice the repetition and interpretation of those “formulas” used by painters in medieval China. Such “formulas” are the established ways of depicting water surfaces with pen and ink, formed during the Song dynasty and developed in the Yuan and Ming eras until the seventeenth century. Particular emphasis is placed on the systematization of schemes for the embodiment of the sea in different states in Ma Yuan’s work, their sources, and how they were embodied and transformed by painters in subsequent periods. The use of schemes for depicting water made it possible to achieve the effect of dynamism. This was conditioned, among other things, by the specificity of artistic tools and materials used by masters, who had in their arsenal scarce artistic means. The artists endeavoured to invent and form their own method of execution for each theme. The article has theoretical and practical value. It supplements the history of the development of landscape painting in ancient China by analysing the origin and formation of the previously little-studied motif, which in the space of Chinese painting of the 20th — 21st centuries has taken a strong position.
38
Гультяева, Г. С. "Сhinese portrait painting of the late 20th – early 21st centuries: evolution and cultural context." Terra artis. Art and Design, no. 4 (January 31, 2024): 93–99. http://dx.doi.org/10.53273/27128768_2023_4_93.
Full textAbstract:
Современная портретная живопись Китая является ярким отражением атмосферы эпохи, диалога Востока и Запада, трансформации общественного сознания. В настоящей статье рассматривается эволюция китайской портретной живописи конца XX — начала XXI вв. в контексте социально-культурного развития китайского общества. Актуальность исследования продиктована возросшим интересом к современной китайской живописи, получившей широкое признание в стране и за ее пределами, а также необходимостью изучения семантики и символики визуальных художественных образов в современных произведениях китайских авторов. Целью данного исследования является выявление стилистических особенностей и идейного содержания китайской портретной живописи конца XX — начала XXI вв. на примерах произведений современных художников. На основе системного и целостного подхода к анализу портретной живописи указанного периода раскрывается многообразие ее форм и стилей, в том числе дается характеристика портретного жанра 1950–1960-х гг. и живописи «деревенского реализма». Особое внимание уделяется описанию художественной концепции неореализма и циничного реализма, отражающих новую форму критического восприятия окружающей действительности и переосмысления прошлого исторического опыта. Modern Chinese portraiture is a vivid reflection of the atmosphere of the era, the dialogue between East and West, and the transformation of public consciousness. This article examines the evolution of Chinese portrait painting in the late XX — early XXI centuries in the context of the sociocultural development of Chinese society. The relevance of the research is dictated by the increased interest in modern Chinese painting, which has received wide recognition in the country and abroad, as well as the need to study the semantics and symbolism of visual artistic images in modern works by Chinese authors. The purpose of this study is to identify the stylistic features and ideological content of Chinese portrait painting of the late XX — early XXI centuries using examples of works by contemporary artists. Based on a systematic and holistic approach to the analysis of portrait painting of the specified period, the author reveals the diversity of its forms and styles, including a description of the portrait genre of the 1950s and 1960s and painting of “rustic realism”. The author pays special attention to the description of the artistic concept of neorealism and cynical realism, reflecting a new form of critical perception of the surrounding reality and rethinking of past historical experience.
39
Wong, Kin Yuen. "The Melodic Landscape: Chinese Mountains in Painting-Poetry and Deleuze/Guattari's Refrains." Deleuze Studies 7, no. 3 (August 2013): 360–76. http://dx.doi.org/10.3366/dls.2013.0117.
Full textAbstract:
By melodic landscape, this paper points to natural milieus such as mountains whose motifs are caught up in contrapuntal relations. With Merleau-Ponty, the structure of the world is a symphony, and the production of life which implicates both organism and environment as unfurling of Umwelt is ‘a melody that sings itself’. For the Chinese culture, mountains have been deemed virtuous in Confucianism, immortal by Daoists, and spiritual for a Buddhist to reach a substrate level of pure stream of a-subjective consciousness. A Chinese painter-poet within the ‘mountain-water’ genre would consider mountains as performance of events, a concert of vibration of light, shape and sound, movement and rest. Insofar as art is to create energy transfer, Chinese artists of mountains aim at concerting with nature as organised by rhythms and conspecifics, unfolding contrapuntal melodies with all kinds of counterpoints. As Deleuze and Guattari's notion of refrains are the three forces or tempos of chaos, earth and world confronting/converging one another, this paper endeavours to find out, first, how Deleuze and Guattari's geological, organic and alloplastic stratifications can be put alongside mountains, animals, plants and arts, and second, how this notion can contribute to our new appreciation of the way Chinese mountains in arts can give out music.
40
Tu, Zhun. "Stylistic Features of the Genre of Chinese Painting “Flowers and Birds” in the Gongbi Style." Университетский научный журнал, no. 69 (2022): 101–7. http://dx.doi.org/10.25807/22225064_2022_69_101.
Full text
41
汪一舟, 汪一舟. "美人移動，江南到江戶：狩野探幽對中國仕女圖的傳移模寫." 中正漢學研究 37, no. 37 (June 2021): 075–114. http://dx.doi.org/10.53106/2306036020210600370003.
Full textAbstract:
<p>明代中國繪畫傳至日本，成為江戶時代重要的創作素材。江戶早期狩野派畫家狩野探幽經多年蒐集和摹寫，繪製了大量以中國古畫為主的縮小摹本，稱作「探幽縮圖」。用於繪畫素材、鑑定筆記及門派傳承等，影響深遠。中國女性是其中重要題材。基於皆川三知關於「縮圖」中多於107幅「唐美人」圖的統計，本文從中日跨文化角度探討「縮圖」中國仕女圖的摹寫方法、來源和運用，並試論日本江戶時代對中國女性題材繪畫及其作偽的受容。發現「縮圖」多擅仕女畫的明代蘇州「吳門」畫家唐寅、仇英款，也有不長於仕女題材的江南名家如元代趙孟頫、趙雍，指出「蘇州片」為其重要來源。再以耕織圖、西王母圖為案例，探討了跨文化背景下中國女性圖像雜糅及重新詮釋問題。</p> <p> </p><p>"During the Ming dynasty, Chinese paintings were transmitted to Japan and became an essential visual source for Japanese paintings of the Edo period (1615-1867). Kanō Tan’yū (1602-1674), a leading artist of the early Edo Kanō School, spent his lifetime copying numerous earlier Chinese paintings, as well as some Japanese and Korean works. He left thousands of small-sized sketches, called Tan’yū Shukuzu [Tan’yū’s Small Sketches], leaving a lasting impact on the Japanese painting realm. They were made for multiple purposes, as painting models, authentication notes, teaching materials, and a symbol of a painter’s status. Sanko Minagawa’s research survey indicates the existence of more than 107 sketches of Chinese female images, as one of the major subjects, in Tan’yū Shukuzu. </p> <p> This paper focuses on Tan’yū’s copies of Chinese female-figure paintings (often called tobijinzu, “pictures of Chinese beauties,” in Japanese) that were largely overlapped with while beyond the scope of the shinü tu or meiren hua genre (paintings of beautiful ladies) in Chinese art. It discusses the reproduction mechanism of Shukuzu in comparison with the Chinese fenben practice. It also examines the attributed Chinese artists’ signatures copied by Tan’yū in Shukuzu, e.g., Qiu Ying and Tang Yin (famed for beautiful women paintings), Zhao Mengfu and Zhao Yong (no extant authentic female-figure paintings), and it identifies the late Ming Suzhou Pian workshop as an important original Chinese source. It provides a fresh angle to approach the perception of Chinese “forgery” paintings and the long-term use of Shukuzu in re-making and reinterpreting Chinese paintings in Edo Japan from the seventeenth to the nineteenth century. Through two case studies from a transcultural perspective, it shows the combination of two Chinese pictorial systems, gengzhi tu (Pictures of Tilling and Weaving) and shinü tu, in a Kanō School scroll; and the transformation of the Queen Mother of the West, from a powerful female Daoist immortal signified by peaches of immortality to a secularized beautiful lady holding peach blossoms, in Kanō School paintings. </p> <p> </p>
42
Bogadelina, Mariya Evgen'evna. "PECULIARITIES OF THE LANDSCAPE GENRE IN THE CHINESE INK WASH PAINTING OF THE XX-XXI CENTURIES." Manuscript, no. 8 (August 2018): 97–101. http://dx.doi.org/10.30853/manuscript.2018-8.21.
Full text
43
Лай, Юеге. "ЖАНР ХУАНЯО і БУКЕТИ БАРОКО: МЕТАМОРФОЗИ БУТТЯ." Art and Design, no. 3 (December 5, 2019): 89–96. http://dx.doi.org/10.30857/2617-0272.2019.3.9.
Full textAbstract:
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.
44
Belozerova, Vera. "The Unity of the “Four Perfections” (si jue) in the Works of Wu Changshi (1844–1927)." Vostok. Afro-aziatskie obshchestva: istoriia i sovremennost, no. 3 (2022): 184. http://dx.doi.org/10.31857/s086919080020440-1.
Full textAbstract:
The article is devoted to the creativity of Wu Changshi (1844–1927), who played a key role in preserving the continuity of Chinese fine art at the crucial initial stage of the global modernization of China's traditional culture. The subject of the study is the aesthetics of the unity of the “four perfections” (si jue), which means poetry, calligraphy, painting and seals. The synthesis of the four arts seems to be a unique achievement of Chinese culture, which influenced the countries of the hieroglyphic area. Wu Changshi's creativity is considered the culmination of the embodiment of the principle of unity of the “four perfections”. Wu Changshi's calligraphic and pictorial works are accompanied by poems most often of his own composition. Before Wu Changshi's creative impulse gained visual realization, he was invariably subjected to deep poetic and philosophical reflection, which predetermined the content of calligraphic and pictorial works. Thanks to this, the meanings of visual forms went beyond their genre affiliation. Wu Changshi created a variety of spatial and force effects in a small format of seals. Wu Changshi's monumental and heroic style in calligraphy had no equal in its energy power and corresponded to the demands of the time. Wu Changshi reformed the pictorial tradition in the direction of epigraphic painting, combining elite intellectualism with the folk immediacy of color perception. The work is based on the latest publications of Chinese and Western art critics. The research combines the techniques of traditional Chinese art studies with the methods of Western interdisciplinary analysis.
45
Zhang, Xiaolong. "What is visual Vaporwave? Vaporwave arts and their history and position in China." Mutual Images Journal, no. 10 (December 20, 2021): 295–326. http://dx.doi.org/10.32926/2021.10.zha.vapor.
Full textAbstract:
By Vaporwave we refer to a digital-born electronic music genre and a trend in visual aesthetics. It emerged in some US-based online communities in the early 2010s, and now its visual expressions are in vogue in Chinese visual media context. In this article, Vaporwave’s aesthetics are discussed through three stages of analysis. In the first part, the paper outlines relevant theories and general features of Vaporwave’s (both visual and musical) aesthetics; next, the paper focuses on Vaporwave's visual characteristics, and, to provide a deeper understanding of its visual aesthetics, I discuss a school of painting derived from early twentieth-century Italy—Metaphysical art. In the second part, the article discusses why and how vaporwave aesthetics are inseparable from some Japanese visual characteristics and how it is represented in China, with particular reference to examples of Japanese comics from the 1980s/early 1990s and one popular Chinese video-focused social media TikTok in recent years. In the third part, the article focuses on illustrating Vaporwave's visual features in the Chinese context in recent years, and several examples are provided.
46
RYBALKO, Svitlana, and Zhe ZHANG. "REPRESENTATIONS OF STILL LIFE IN CHINESE PAINTING OF THE FIRST HALF OF THE 20TH CENTURY: THE SHANGHAI SCHOOL." HUDPROM: The Ukrainian Art and Design Journal 2023, no. 2 (October 15, 2023): 66–77. http://dx.doi.org/10.33625/hudprom2023.02.066.
Full textAbstract:
The purpose of the article is to determine the ways of formation of still life as a genre in the first half of the 20th century and the features of its conceptualization; highlighting the creative output of representatives of the Shanghai school in the field of depicting the objective world. A wide range of visual materials is considered, and a circle of representatives of the Shanghai school who participated in the development of still life as an independent genre of painting is identified. Wu Changshu and Qi Baishi are among the most significant creators of still life. Representative samples and leading approaches to the development of the figurative structure of still life, its understanding as a complete symbolic and artistically expressive composition, as a gift and expression of an individual creative principle are identified. The connection of the Shanghai still life with the previous tradition is shown, and the decisive influence of wenrenhua aesthetics is highlighted; the significance of Shanghai as an artistic center and a cosmopolitan environment for the development of the artistic process is pointed out. It is emphasized that the still life of the Shanghai school became a transitional link to the still life of the Western style. The cultural status of still life as a result of the activity of scientists determined its perception by Japanese artists, the representatives of the Nanga school and ensured its further spread in the art of China, Japan and Korea. The main approaches to the interpretation of pictorial motifs close to still life are determined. Traditional and modern aspects in the depiction of the objective world by representatives of the Shanghai school in the first half of the 20th century are identified. The practical significance of the research results lies in the possibility of their use in the development of the conceptual framework for educational courses, textbooks, as well as in artistic and museum practices.
47
Niu, Xuebiao. "WU CHENG’EN’S NOVEL “JOURNEY TO THE WEST” AND ITS RESOURCES FOR ANIMATED ADAPTATIONS." Scientific and analytical journal Burganov House. The space of culture 19, no. 3 (June 10, 2023): 22–38. http://dx.doi.org/10.36340/2071-6818-2023-19-3-22-38.
Full textAbstract:
This article explores the potential for producing animated movies based on the Chinese classic novel «Journey to the West». The author traces the evolution of the plot and characterizes the main features of the famous literary work, the adaptation of which was repeatedly used not only by Chinese, but also by Japanese, Korean and other animators. Over the years and centuries, the pilgrimage of the Tang monk and his companions to India in search of the sacred sutras has evolved from historical accounts to folklore tales, and eventually to plays, after which the journey has become the subject of several novels by different authors, with Wu Chen’en’s novel being the most renowned classic. And it is the very process of turning a real story and real people into a legend, a myth, geographical movement and physical travel into a metaphysical path, followed by characters whose image goes back to ancient archetypes that made the novel so popular during different centuries and in different countries. Furthermore, the article highlights the distinctive features of the novel that make it particularly suitable for adaptation through animation. Unlike written art, visual art can directly incorporate the images and forms of various folk art forms such as folk painting, sculpture, popular print, shadow theatre, Peking Opera, and traditional painting. Chinese animation based on the novel has successfully utilized these art forms. Additionally, one should consider the genre of the novel, which is rooted in the collective unconsciousness and rich in formal, plot, and thematic elements. As noted by Russian philologist and semiotician J. Lotman, animated cinema is the most appropriate means for adapting fantastic stories. At the same time, Wu Chen’en’s novel «Journey to the West» has the value of not only a national cultural heritage, but also a global one. The author notes the important idea of the Canadian media theorist Marshall McLuhan about the relevance in the information society of the Chinese way of thinking with its idea of a net world and a net person. Animated films based on the plots of «Journey to the West», can effectively broadcast the values of the Chinese worldview and mentality and thereby contribute to the mankind’s response to the challenges of the time.
48
Wang, Shue. "Anti-Japanese war in the fine arts of China of the XX – beginning of the XXI century." Философия и культура, no. 6 (June 2023): 141–51. http://dx.doi.org/10.7256/2454-0757.2023.6.40967.
Full textAbstract:
This study examines the specifics of the theme of the anti-Japanese war in Chinese art at various stages from the 1930s to the beginning of the XXI century. The key works of graphic artists and painters are selected as the material, which mark the key points of the evolution of the topic under consideration. Images in Chinese art associated with the events of the anti-Japanese War or the "War of Resistance" have been created by artists for more than seven decades, changing and transforming in accordance with political, ideological, socio-cultural and artistic-stylistic factors. This topic is extremely important for the people, since it was she who gave the art of the newly born New China in the XX century a historical dimension, determined the measure of responsibility of Chinese artists to society and partly the aesthetic paradigm of the evolution of the arts. Moreover, it has served and continues to serve as a source of inspiration for new generations of masters of historical painting, especially battle artists. As a result of the analysis and generalization, four stages are distinguished. The first one is connected with the work of wartime graphs, which recorded the most important moments of the confrontation between the two armies and peoples, determining the general realistic orientation in the development of the theme and its iconography. The middle of the century is the time of the establishment of images associated with the anti-Japanese war as the main line in Chinese painting, the appearance of multi-figure subject canvases, including in the battle genre. The last third of the XX century is defined as the period of transition from the glorification of events to the embodiment of the understanding of that war as a national tragedy, as well as the enrichment of romanticized realism with new artistic forms. At the beginning of the new century, artists tended to create large-scale canvases, saturating them with complex symbolic meanings and details. Such changes indicate the continuation of the evolution of the topic under study and its further transformations.
49
Huang, Lei. "Pastoral and the Principles of Its Stylization (Based On the Material of Vocal Music)." Culture of Ukraine, no. 73 (September 23, 2021): 104–12. http://dx.doi.org/10.31516/2410-5325.073.15.
Full textAbstract:
The purpose of this paper is to reveal the role of stylization as a styleforming principle in the evolution of the pastoral genre based on textbook chambervocal compositions (arias by W. A. Mozart), as well as littleknown ones.
The methodology. The proposed research differs from other studies, which are close in the topic (T. Livanova, A. Korobova, A. Taylor and others), by an interpretativecognitive approach dictated by the challenges of modern performing practice. A comparative analysis of pastoral semantics in European and Chinese poetics was also used.
The results. On the basis of vocal miniatures created in the XX century (S. Vasylenko “Pastoral” op. 45, No. 5 and A. Rudianskyi “Lotus” and “The Flute on the Water” from the cycle “The Lake of White Lotus” (2001), a parallel of the European pastorals and ancient Chinese poetry from the point of view of a pastoral person in different pictures of the world has been drawn. The ontosonological foundation of the pastoral is made up of a human voice accompanied by a shepherd’s pipe, landscape sound painting (the singing of birds, the murmur of a brook), and the vastness of natural landscapes (plain air). The author develops the conceptual apparatus of the theory of the pastoral to reveal the richness of various composing interpretations of the genre, its dynamics: “semantics of the pastoral”, “ontology of the pastoral image”, “pastoral person”, “pastoral picture of the world”.
The topicality of the interpretativecomparative analysis is the conclusion about the necessary principles of stylization of the pastoral: the presence of a genre invariant with its own stable, psychological mechanism of recognition by listeners; historical distancing from the prototype (ancient poetry, baroque opera); creative synthesis of many traditions of the artistic existence of the genre and the signs of its national musical attribution. Poetic text and symbolization of the musical language are also the mechanisms of stylization of the pastoral in vocal music. Musical and poetic symbols, created by the author’s intuition, form a new life for the pastoral in the creative work of the XX century composers. If the composer’s interpretation of the genre invariant of the pastoral has ensured its viability for millennia, then the performer of pastoral compositions is responsible for their genre and style “purity”. The performers must master the technique of recreating the soundlike world of a pastoral person.
The practical significance of the topic is confirmed by the fact of the actualization of the pastoral in the performance of the XXI century, due to the systematic inclusion of its samples into the concert repertoire of vocalists (including those from the People’s Republic of China), which requires appropriate historical and theoretical knowledge when modelling the behaviour of a pastoral person in the modern cultural situation.
50
Andrijauskas, Antanas. "The Aesthetics of the Intellectual (Wenrenhua) School in the Milieu of Chinese Renaissance Ideas." Dialogue and Universalism 30, no. 3 (2020): 245–61. http://dx.doi.org/10.5840/du202030345.
Full textAbstract:
This article mainly focuses on one of the most refined movements in world aesthetics and fine art—one that spread when Chinese Renaissance ideas arose during the Song Epoch and that was called the Intellectual (Wenrenhua) Movement. The ideological sources of intellectual aesthetics are discussed—as well as the distinctive nature of its fundamental theoretical views and of its creative principles in relation to a changing historical, cultural, and ideological contexts. The greatest attention is devoted to a complex analysis of the attitudes toward the artistic creation of the most typical intellectuals, Su Shi and Mi Fu; the close interaction between the principles of painting, calligraphy, and poetry is emphasized; a special attention is paid to the landscape genre and to conveying the beauty of nature. This article discusses in detail the most important components of artist’s creative potential, the opportunities to employ them during the creative act, and the influence of Confucian, Daoist, and Chan aesthetic ideas. The various external and internal factors influencing the intellectual creative process are analyzed; artist’s psychological preparation before creating is discussed along with the characteristics of his entrance into the creative process. This article highlights the meditational nature of artistic creation typical of representatives of this movement, the freedom of the spontaneous creative act, and the quest for the inner harmony of the artist’s soul with expressions of beauty in the natural world.