Relevant bibliographies by topics / Painting, Chinese - 20th century

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Painting, Chinese - 20th century'

Author: Grafiati
Published: 4 June 2021
Last updated: 20 February 2023

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Journal articles on the topic "Painting, Chinese - 20th century"

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Ковальова, М. М., and Цю Чжуанюй. "ІМПРЕСІОНІСТИЧНІ ТЕНДЕНЦІЇ В КИТАЙСЬКОМУ ОЛІЙНОМУ ЖИВОПИСУ ПЕРШОЇ ПОЛОВИНИ XX СТОЛІТТЯ." Art and Design, no. 3 (November 13, 2020): 55–65. http://dx.doi.org/10.30857/2617-0272.2020.3.4.

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The purpose of the article is to reveal the impressionistic trends in the fine arts of China, determining the originality of the Chinese oil painting development of the 20th century. Methodology. Historical and cultural, comparative, iconographic and iconological methods are used in the study. Results. The study examines the underinvestigated aspects of Chinese painting development in the first half of the 20th century. The retrospective analysis of the pictural art enables tracing the traditions and innovations in the formation of oil painting in China, which prevails at this historical stage of the national art school development. The desire of Chinese artists to preserve the philosophical foundation and theoretical principles of classical ink painting, and at the same time an interest in Impressionism, have become a peculiar feature of Chinese oil painting. The main trends, dominating at the beginning of the century, persist to this day, defining the development of Chinese oil painting in general. It is determined that the decorativeness and thematic repertoire of classical Chinese ink art has been transferred to oil painting, as evidenced by the booming exhibition activities. The study determined that in the first half of the 20th century, the impressionistic trend was spread in the country, which resulted from the study of Japanese and French masters by Chinese masters. The teaching methods and stylistic searches of Chinese artists of the period under study became the foundation of contemporary Chinese art. The latest trends in Chinese oil painting in the first half of the 20th century are: an artistic rethinking, reminiscences of a similar phenomenon in Western European painting of the late XIX – early XX century. The spread of impressionism contributed to the greatest development of still life and landscape genres, and also brought plein air practice to a new level. Many Chinese artists spread impressionistic ideas not only in artistic creation, but also in art history. The scientific novelty lies in the systematization and factual material analysis on this problem, determining the role of the impressionist trend in the Chinese oil painting development. Practical significance. The results of the study can be used in further studies of the history and theory of Oriental art of the 20th century.
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Chen, Jiajun. "The Style and Characteristics of Flower-and-Bird Painting in The Western Fujian Province in Modern Times." Scientific and Social Research 3, no. 6 (December 29, 2021): 157–63. http://dx.doi.org/10.36922/ssr.v3i6.1293.

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The 20th century was a period of change in the development of Chinese flower-and-bird painting. Traditional brush and ink painting blended with Western painting colors and concepts to present new forms of painting. Following the peak of Ming and Qing Dynasties’ development in Minxi (the western of Fujian) painting, a group of freehand flower-and-bird painters represented by the “four Masters of Shanghang” Li Shaoqi, Luo Xiaofan, Qiu Tian, and Song Shengyu, who inherited the Minxi painting style of the Ming and Qing Dynasties, learned the new painting language combines the styles of Paintings of Shanghai school, Lingnanism, and Lingdongism. The unique new style of painting highlights the posture of Minxi flower-and-bird paintings, thus influencing the modern times changes of flower-and-bird paintings of Fujian.
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Yang, Guangyu. "temporal spirit, expressiveness and nationality of contemporary Chinese painting." Linguistics and Culture Review 5, S2 (July 31, 2021): 472–86. http://dx.doi.org/10.21744/lingcure.v5ns2.1384.

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The relevance of the study is determined by the fact that China, like Japan, took oil painting relatively recently. Japan became closely acquainted with Western technology in the 19th century, but at that time they still imposed a taboo on oil painting, the authorities in every way prevented its spread, protecting the traditions of national art. Only the 20th century allowed new trends to finally settle down. The work shows that the understanding of the European painting technology was widely represented in the imperial Celestial Empire. The article shows that the artists did not make a big problem to learn painting skills from the Europeans (originally the Portuguese). They learned the lessons, techniques and technology of European art, despite the fact that they had never had a similar school before. Separately, it is stipulated that cooperation after the formation of the USSR played a great influence on contemporary paintings. This explains the fact that many paintings by Chinese painters are very similar to Russian school of fine art. The authors determine that the Russian style, fully perceived by the PRC, was formed collectively from the Renaissance approach, with the inclusion of impressionism motifs.
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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.

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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.
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Fan, Liu. "Lijiang river image in painting of Chinese 20TH century artists." Humanities science current issues 2, no. 39 (2021): 33–41. http://dx.doi.org/10.24919/2308-4863/39-2-6.

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Gultyaeva, Galina S. "Realistic Painting of the 20th Century China in the Context of Cultural Visualization." Observatory of Culture 18, no. 1 (May 24, 2021): 32–43. http://dx.doi.org/10.25281/2072-3156-2021-18-1-32-43.

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This article examines the phenomenon of Chinese realism, as well as the prerequisites and factors that influenced the processes of reception in modern Chinese art. At the beginning of the 20th century, under the influence of Western academic realism and the artistic system of social realism, a new direction and artistic method was formed — realism, which became mainstream in the art of China of the mid-20th century. According to its aesthetic and ideological motifs, Chinese realism is an object of social realism reception, which was determined by cultural and historical factors, and the development of political, economic and cultural ties with the USSR. Studying the realistic painting, which reflects the atmosphere of the era, the worldview, and the dialogue of cultures, is relevant for both Chinese and Russian contemporary art studies. The article examines the role of realism in the development of Chinese art culture of the 20th century, including its socio-political components, as well as the dynamics of artistic and expressive means and the iconographic system in the context of the historical and cultural situation. In the 1980s and 1990s, as a result of the liberalization of economic and political life, the artistic consciousness formed new concepts of realistic painting — neorealism and cynical realism, associated with a critical rethinking of the historical heritage. The neorealism and cynical realism, which would significantly enrich realistic painting with new forms and content, adopted Western postmodern concepts of pop art, and debunked, in a grotesque and satirical form, the political stereotypes of the past. The analysis of realistic painting of the 1990s demonstrates how the transformation of past painting canons reflects the desire of society to free itself from the pressure of totalitarian ideology and to rethink the value orientations of the previous era.The novelty of this study lies in the fact that it applies a systematic and holistic approach to the analysis of realism in Chinese painting, reveals the diversity of its forms and directions, and gives ground for the specifics of its evolution in the context of the artistic culture of the 20th century China. There are almost no comprehensive studies of this issue in modern art history, so this work is an attempt to create a scientific approach to the study of this artistic phenomenon and the formation of ideas about how the artistic consciousness of an entire epoch was changing.
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Xiaotao, Li, and Yan Qing. "The influence of the Itinerants' creative ideas on Chinese realistic painting." World of Russian-speaking countries 2, no. 8 (2021): 87–104. http://dx.doi.org/10.20323/2658-7866-2021-2-8-87-104.

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The article analyzes the influence of the Itinerants' creative ideas on Chinese realistic painting, the development of which is inseparable from the study of the Itinerants. The article examines how the painting technique and ideology of the Association of Itinerant Art Exhibitions founded in the late 19th century are relevant to many 20th-century Chinese artists. The authors identify the ideological principles of the Itinerant movement that have influenced different generations of Chinese artists (rejection of the “art for art's sake” principle, emphasis on national characteristics of painting, responsibility for reflecting the life of people in the country, advocating the spirit of critical realism as the only true way to reflect life in art) and prove that without Russian Itinerants there would be no Chinese realism in painting and modern Chinese realistic painting. The article identifies and characterizes three stages of adopting the Itinerant creative ideas in China: the period of the Republic of China (acquaintance of the Chinese public with the Itinerants' paintings and understanding the Itinerant ideology at the time of the “Movement for New Culture”), the beginning of the PRC foundation (the period of comprehensive study of realist painting, training of talented Chinese artists in art educational institutions of the USSR as part of the cultural exchange and mastering the principles of Soviet realist art) and the first decade after the Cultural Revolution (a critical “painting of scars” reflecting the experiences and fates of people during the Cultural Revolution). The authors conclude that the study of the Itinerants' creative ideas from the point of view of cultural studies in the context of the Chinese realist art school development is important for understanding the Russian- Chinese cultural dialogue.
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Wenji, Zhao, Cui Rongrong, and Niu Li. "Design and Cultural Aspects of 20th Century Chinese Xiangjin Brocade." Fibres & Textiles in Eastern Europe 151, no. 3 (September 28, 2022): 116–29. http://dx.doi.org/10.2478/ftee-2022-0030.

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Abstract As one of the representative silk-woven artworks of the 20th century in China, Chinese Xiangjin brocade, well-known as “the flower of Oriental art”, draws on the essence of Sichuan brocade, Yun brocade, Song brocade, so as to form its own unique artistic style. It also takes the lead in the innovation of traditional brocade in key processes such as craftsmanship, design and jacquard, whose drawing technique is the exact core skill making it intangible cultural heritage. So far, there have been few studies on crafts and textile design in China before the 20th century or even after the reform and opening up, and rather fewer studies on the structure of Xiangjin brocade in the 20th century. This paper attempts to record and classify 1008 pieces of Xiangjin brocade in the Suzhou Silk Archive, China, as well as to find out their design features, oriental flavour, and unique weaving techniques. In addition, the cultural connotation of Xiangjin brocade as the painting medium was also put forward by analysing those brocades' historical texts, images, and style.
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Xu, Min. "Chinese art: A survey of collections and research materials in the United States." Art Libraries Journal 39, no. 2 (2014): 43–47. http://dx.doi.org/10.1017/s0307472200018319.

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During the 20th century a range of museums in the United States were engaged in acquiring Chinese art objects, developing major collections of painting and calligraphy, ancient bronze, Buddhist sculpture, ceramics and other decorative arts. Research materials on Chinese art have been collected by art libraries in major museums and the East Asian libraries of the main research universities. The author surveys significant Chinese art collections in museums and research libraries in the United States today.
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Song, Joon Il. "The Influence of Far Eastern Culture on the Creative Work of S.M. Eisenstein." Journal of Flm Arts and Film Studies 10, no. 3 (September 15, 2018): 45–54. http://dx.doi.org/10.17816/vgik10345-54.

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The article investigates the influence of Japanese and Chinese traditional culture on Sergey Eisensteins theory of artistic thinking, his activity as a film director. The author explores the origin of Eisensteins interest for the Far East in the historical context of the late 19th - early 20th century. Special attention is paid to his reflection on the nature of Japanese and Chinese drama, painting and poetry as well as its results manifested in his montage theory.
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Dissertations / Theses on the topic "Painting, Chinese - 20th century"

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Law, Suk-mun Sophia, and 羅淑敏. "Zhang Daqian's (1899-1983) place in the history of Chinese painting." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2004. http://hub.hku.hk/bib/B31245808.

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Deng, Weixiong, and 鄧偉雄. "Scholarship, creativity and Jao Tsung-i's works and theories of painting." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2010. http://hub.hku.hk/bib/B45961803.

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蘇碧懿 and Pik-yee Kotewall. "Huang Binhong (1865-1955) and his redefinition of the Chinese paintingtradition in the twentieth century." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1998. http://hub.hku.hk/bib/B31238701.

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Lai, Mei Lin. "Lui Shou Kwan & modern ink painting." Phd thesis, Department of Art History and Theory, 2011. http://hdl.handle.net/2123/9258.

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蕭芬琪 and Fun-kee Siu. "The case of Wang Yiting (1867-1938): a uniquefigure in early twentieth century Chinese art history." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2000. http://hub.hku.hk/bib/B31223357.

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Shen, Cheen. "The transformation of line, shape and intention in Chinese painting since Xu Beihong and Lin Fengmian." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2007. https://ro.ecu.edu.au/theses/272.

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The research of this dissertation is focused on 'transformation' in the development of Chinese painting and takes the three traditional elements in painting-- line, shape, and intention--as methods of observation. The dissertation proposes that Chinese painting has undergone two stages of critical transformation that are worthy of notice: the first occurring in the chaotic situation during Wei Jin North and South Dynasty in the third century, and the second stage lasting from the beginning of the 20th century till now.
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Huang, Michelle Ying Ling. "The reception of Chinese painting in Britain, circa 1880-1920 : with special reference to Laurence Binyon." Thesis, University of St Andrews, 2010. http://hdl.handle.net/10023/1020.

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The British understanding of Chinese painting owed much to Laurence Binyon (1869-1943) who enriched the British Museum’s collections of Oriental painting, and for almost forty years, published widely and delivered lectures in Britain and abroad. Binyon’s legacy is to be found in several archival resources scattered in Britain, America, Japan and China. This dissertation is a study of the reception of Chinese painting in early twentieth century Britain, and examines Binyon’s contribution to its appreciation and criticism in the West. By examining the William Anderson collection of Japanese and Chinese paintings (1881), I illuminate Anderson’s way of seeing Chinese pictorial art and his influence on Binyon’s early study of Oriental painting. I argue that the early scroll, The Admonitions of the Court Instructress, which Binyon encountered in 1903, ignited his interest in the study of traditional Chinese painting, yet his conception of Chinese pictorial art was influenced by Japanese and Western expertise. To reveal the British taste and growing interest in Chinese painting around 1910, Binyon’s involvements in major acquisitions and exhibitions of Chinese paintings at the British Museum, including the Sir Aurel Stein collection (1909) and the Frau Olga-Julia Wegener collection (1910), as well as his visits to Western collections of Chinese art in America and Germany, will be investigated. In order to understand the relevance and values of Chinese painting for the development of early twentieth-century British art, I also scrutinize how the principle of “rhythmic vitality” or qiyun shengdong, as well as the Daoist-and Zen-inspired aesthetic ideas were assiduously promoted in Binyon’s writings on Chinese painting, and how Chinese art and thought kindled British modernists to fuse art with life in order to re-vitalize the spirit of modern European art with non-scientific conceptions.
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Maraun, Timothy Fritz. "Tension in 18th century Chinese painting." Thesis, University of British Columbia, 1990. http://hdl.handle.net/2429/31841.

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In Western scholarship, eighteenth century Chinese paintings have consistently been seen as playful, eccentric, and odd. This characterization has been based on the formal qualities of some of the paintings. At the same time, Chinese scholars have written of the scholarly virtues and ambitions of the painters producing the works. The contradiction between these two interpretations is in part consistent with the Western and Chinese approaches generally. But it also stems from the mixed signals and information generated in the eighteenth century. The nature of painting, not just formally, but socially has yet to be explained in a way which takes into account some actual historical contradictions of the eighteenth century. In order to explain these historical tensions, I combine a biographical (Chinese) approach with a contextual approach (Western) in a study of two different scholar painters, Zheng Xie and Li Shan. I juxtapose biographical sources with artworks, and less official writings relating Zheng Xie and Li Shan, in order to describe the tensions involved in painting for the literatus within the merchant culture of Yangzhou. These tensions existed between the literatus' expected status and that granted him, between his ideal of the role of painting in the scholar's life and the implications of commercial painting, and between his emphasis upon poetry and his popularity as a painter. In all cases, the tensions in eighteenth century literati painting arise from the difficult relationship between the painter and patron, and between the painter and the ideas of a broader public. The lack of a clear definition of "scholar" and "scholar painting" amongst literati illustrates the literatus' loss of control over the definition of his lifestyle.
Arts, Faculty of
Art History, Visual Art and Theory, Department of
Graduate
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Gruner, Billy. "Painting the object : recent formal Australian painting." Phd thesis, Sydney College of the Arts, 2003. http://hdl.handle.net/2123/4992.

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Setti, Godfrey. "An analysis of the contribution of four painters to the development of contemporary Zambian painting from 1950-1997." Thesis, Rhodes University, 2001. http://hdl.handle.net/10962/d1002218.

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This study presents an analysis of the contribution of four painters to the development of contemporary Zambian painting, from 1950 to 1997. This is preceded by a brief history of Zambian painting, including Bushmen rock painting and early Bantu art, which is followed by an account of the way western influence, introduced by the white man, started changing the style of painting in the country as it began to affect indigenous artists. In the work of artists who began painting from about 1900 to 1950, both western and traditional stylistic influences can be seen. While the painters whose work is analysed in this thesis had some knowledge of Zambian art before 1950, they were mainly influenced by western ideas of painting. From a list of more than ten painters ofthis period from 1950 to 1997, I selected: Gabriel Ellison, Cynthia Zukas, Hemy Tayali and Stephen Kappata because I know them personally and therefore had access to them and their work, which facilitated my analysis of their work and its contribution to Zambian painting. This analysis takes the form of four chapters, one for each artist, in which relevant biographical and educational background is outlined, followed by an analysis of examples of\vork. Finally, ways in which each painter, through exposure to the Zambian public and artistic community, contributed to further development in Zambian painting, are emphasised.
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Books on the topic "Painting, Chinese - 20th century"

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Till, Barry. Tradition and innovation in 20th century Chinese painting. Victoria, B.C: Art Gallery of Greater Victoria, 1998.

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Zhongguo xian dai mei shu quan ji: Yin ran zhi xiu. [Shijiazhuang Shi]: Hebei mei shu chu ban she, 1998.

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Zhongguo xian dai mei shu quan ji: Qi qi. [Shijiazhuang Shi]: Hebei mei shu chu ban she, 1998.

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Zhongguo xian dai mei shu quan ji: Bi hua. Shenyang Shi: Liaoning mei shu chu ban she, 1997.

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Er shi shi ji Zhongguo ming hua da dian: Ji nian Zhongguo Gongchandang cheng li jiu shi zhou nian = Collection of 20th century famous Chinese paintings. Hangzhou Shi: Xi ling yin she chu ban she, 2011.

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Manson and Woods Ltd Christie. Fine 19th and 20th century Chinese paintings: [sale] Sunday, 30 October, 1994.... Hong Kong: Christie's Swire, 1994.

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Michaela, Pejčochová, Winter Tomáš, and Národní galerie v Praze. Sbírka orientálního uměni, eds. Masters of 20th-century Chinese ink painting from the collections of the National Gallery in Prague. Prague: National Gallery in Prague, 2008.

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Chūgoku no kindai bijutsu to Nihon: 20-seiki Nitchū kankei no ichi danmen = Modern Chinese fine arts and Japan : a section of Sine-Japanese relationship in the 20th century. Okayama-shi: Daigaku Kyōiku Shuppan, 2007.

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Transforming traditions in modern Chinese painting: Huang Pin-hung's late work. New York: Peter Lang, 2004.

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Center, Hong Kong Cultural. Shui yue feng liu: Jin dai Zhongguo shui mo hua zhan : Xianggang wen hua zhong xin, 1990 nian 11 yue nian ri zhi nian er ri = In the literati tradition : exhibition of 19th and 20th century Chinese paintings : Hong Kong Cultural Center, November 20-22, 1990. Xianggang: Lian zhai gu wan hao, 1990.

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Book chapters on the topic "Painting, Chinese - 20th century"

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Dowthwaite, James. "Reassessing The Chinese Written Character." In Ezra Pound and 20th-Century Theories of Language, 66–100. New York, NY : Routledge, 2019. |: Routledge, 2019. http://dx.doi.org/10.4324/9780429292316-3.

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Lee, Su-san. "In Defense of Chinese Sensibility: Confucian Aesthetics in the 20th Century." In Dao Companion to Contemporary Confucian Philosophy, 513–40. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-56475-9_23.

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Jin, Fu, and Zhang Qiang. "Modern drama and “feudalism, capitalism and revisionism”." In A History of Chinese Theatre in the 20th Century IV, 3–35. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003205159-2.

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Jin, Fu, and Zhang Qiang. "Returning to the period prior to the Cultural Revolution (1949–1966)." In A History of Chinese Theatre in the 20th Century IV, 113–54. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003205159-6.

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Jin, Fu, and Zhang Qiang. "Postscript." In A History of Chinese Theatre in the 20th Century IV, 246–48. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003205159-10.

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Jin, Fu, and Zhang Qiang. "Post-“model plays” era." In A History of Chinese Theatre in the 20th Century IV, 74–109. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003205159-4.

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Jin, Fu, and Zhang Qiang. "Diversified trends in the 1990s." In A History of Chinese Theatre in the 20th Century IV, 205–42. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003205159-8.

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Jin, Fu, and Zhang Qiang. "Conclusion." In A History of Chinese Theatre in the 20th Century IV, 243–45. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003205159-9.

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Jin, Fu, and Zhang Qiang. "Eight “model scripts”." In A History of Chinese Theatre in the 20th Century IV, 36–73. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003205159-3.

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Jin, Fu, and Zhang Qiang. "Theatrical crisis and rejuvenation." In A History of Chinese Theatre in the 20th Century IV, 155–204. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003205159-7.

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Conference papers on the topic "Painting, Chinese - 20th century"

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Fukunaga, Kaori, Yoshimi Ueno, and Yasunobu Ito. "Investigation of Multilayered 20th Century Painting by THz Imaging." In 2019 44th International Conference on Infrared, Millimeter, and Terahertz Waves (IRMMW-THz). IEEE, 2019. http://dx.doi.org/10.1109/irmmw-thz.2019.8873825.

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Jiang, Hanying, and Xianfei Liang. "The Probe into the Psychological Analysis Painting at the End of 20th Century." In 2017 International Conference on Humanities Science, Management and Education Technology (HSMET 2017). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/hsmet-17.2017.140.

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Khmyrova-Pruel, Irina, Aleksey Smirnov, and Olga Bezzubova. "Modes of Leadership in Soviet School: Exploring the Soviet Painting of the Mid-20th Century." In 6th International Conference on Social, economic, and academic leadership (ICSEAL-6-2019). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200526.005.

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Xin, Ziyan. "The Inscription of Chinese Women in Citizen Textbooks of the 20th century." In 2021 6th International Conference on Social Sciences and Economic Development (ICSSED 2021). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210407.095.

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Zabiyako, Anna. "Image Of Japan In Chinese Literary Thought In The Early 20Th Century." In International Scientific Congress «KNOWLEDGE, MAN AND CIVILIZATION». European Publisher, 2021. http://dx.doi.org/10.15405/epsbs.2021.05.232.

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Wang, Y. "THE IMAGE OF TOILING WOMEN IN CHINESE ARTS OF THE 20th CENTURY." In IV International Conference ”Science and society - Methods and problems of practical application". Prague: Premier Publishing s.r.o., 2018. http://dx.doi.org/10.29013/iv-conf-canada-4-8-11.

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Nguyen Thi Mai, Chanh. "Chinese Language and Literature Reform in The Beginning of The 20th Century." In GLOCAL Conference on Asian Linguistic Anthropology 2019. The GLOCAL Unit, SOAS University of London, 2019. http://dx.doi.org/10.47298/cala2019.6-1.

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Abstract:
It is difficult not to mention language reform when referring to Chinese literature modernization between the end of the 19th century and the beginning of the 20th century. Language played a critical role in facilitating the escape of Chinese literature from Chinese medieval literary works in order to integrate into world literature. The language reform not only laid a foundation for modern literature but also contributed considerably to the grand social transformation of China in the early days of the 20th century. Chinese new-born literature was a literature created by spoken language; in Chinese terms, it was considered as a literature focusing on “dialectal speech” instead of “classical Chinese” used in the past. In international terms, it can be named as living language literature which was used to replace classic literary language in ancient books – a kind of dead language. This article will analyze how language reform impacted Chinese modern literature at the beginning of the 20th century.
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Sheng, Yinghong, and Xiaowen Lin. "The Aesthetic Embodiment of Modernity in Chinese Literature in the 20th Century." In 8th International Conference on Education, Language, Art and Inter-cultural Communication (ICELAIC 2021). Paris, France: Atlantis Press, 2022. http://dx.doi.org/10.2991/assehr.k.220306.052.

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Morozova, Anna Valentinovna. "THE DEVELOPMENT OF RUSSIAN PERCEPTION OF SPANISH PAINTING IN THE PERIOD FROM THE MIDDLE OF THE 19TH CENTURY TO THE BEGINNING OF THE 20TH CENTURY." In 2nd International Multidisciplinary Scientific Conference on Social Sciences and Arts SGEM2015. Stef92 Technology, 2015. http://dx.doi.org/10.5593/sgemsocial2015/b41/s12.004.

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Bykova, A. M. "Between painting and literature: 3 types of ekphrasis in Polish poetry of the 20th century (analysis of selected examples)." In CULTURAL STUDIES AND ART CRITICISM: THINGS IN COMMON AND DEVELOPMENT PROSPECTS. Baltija Publishing, 2020. http://dx.doi.org/10.30525/978-9934-26-004-9-78.

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