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Articoli di riviste sul tema "Chinese artists, 20th century"

Autore: Grafiati

Pubblicato: 4 giugno 2021

Ultima modifica: 20 febbraio 2023

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1

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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2

Ковальова, М. М., та Цю Чжуанюй. "ІМПРЕСІОНІСТИЧНІ ТЕНДЕНЦІЇ В КИТАЙСЬКОМУ ОЛІЙНОМУ ЖИВОПИСУ ПЕРШОЇ ПОЛОВИНИ XX СТОЛІТТЯ". Art and Design, № 3 (13 листопада 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

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3

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, № 3 (10 вересня 2021): 31–49. http://dx.doi.org/10.36340/2071-6818-2021-17-3-31-49.

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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 significa

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Wu, Guanwen. "Mutual Influence of Woodcut Art of China and the USSR." Философия и культура, no. 9 (September 2022): 99–107. http://dx.doi.org/10.7256/2454-0757.2022.9.38851.

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The article discusses the features of interaction and mutual influence of the art of woodcut of China and the USSR. Chinese woodcut and Soviet engraving reveal the greatest mutual influence and rich genre palette in the middle of the XX century. Chinese woodcut gave a creative impulse, enriched the visual possibilities, brought new ideas to the Soviet art of woodcut. It served as an impetus for the rise of graphics, which realized and asserted its specificity. In this regard, it seems relevant to identify common features of Chinese woodcut and Soviet engraving of the mid-20th century, as well

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Лю, Тяньцюань. "China - Japan - Europe: Chinese painting‘s absorption of western European traditions in the late 19th - early 20th century." Академический вестник УралНИИпроект РААСН, no. 3(54) (September 30, 2020): 85–90. http://dx.doi.org/10.25628/uniip.2022.54.3.014.

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В статье исследуется влияние западноевропейского искусства на китайскую живопись, которое шло через опыт японских художников и обучение в Японии китайских мастеров. Роль японской культуры в освоении китайским искусством западноевропейских традиций до сих пор остается недооцененной, часто исследователи не упоминают о связях с Японией, обращаясь сразу к периоду обучения китайских художников в европейских странах, прежде всего во Франции, который был по времени позднее. Однако именно мастера Страны восходящего солнца в конце XIX - начале XX века серьезно повлияли на формирование нового «европейск

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6

Qin, Xiaofeng, and Natalia A. Fedorovskaya. "Specifics of Russian-Chinese Cross-Cultural Communication in the Field of Fine Art of the Second Half of the 20th — Early 21st Century." Observatory of Culture 17, no. 6 (February 10, 2021): 582–93. http://dx.doi.org/10.25281/2072-3156-2020-17-6-582-593.

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Research in the field of cross-cultural communications in the context of modern globalization processes is becoming particularly relevant. Each specific case in cross-cultural interaction has a set of specific features that require detailed study. The article discusses the features of Russian-Chinese cross-cultural communication in the field of fine art, which have been especially pronounced since the second half of the 20th century and until now. The analysis of generally accepted types of communication made it possible to show specific forms of interaction between Russia and China.There is d

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7

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 paintin

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8

Burroughs, Jake. "Una introducción general a la teoría y aplicaciones del boxeo taiji de la familia Sun." Revista de Artes Marciales Asiáticas 4, no. 1 (July 16, 2012): 80. http://dx.doi.org/10.18002/rama.v4i1.228.

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<p>Though well known in China, Sun Family Taiji is one of the least known of Chinese martial arts here in the West. Created by one of China’s top martial artists, Sun Lutang, in what many consider the “Golden Years” of Chinese pugilism (turn of the 20th century), this style offers proper structure, full body power, and dynamic stepping. Training in Sun Taiji presents not only an extremely healthy exercise for all ages, but also an effective system of combat. This is a concise yet inclusive overview of Sun Family Taiji Boxing, including the historical background, real-world applications,

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9

Ženko, Ernest. "THE YIJING AND THE CRISIS OF WESTERN TRADITION." Srpska politička misao, Specijal 2019 (December 2, 2019): 107–24. http://dx.doi.org/10.22182/spm.specijal2019.7.

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In the article author follows a view that although rational thinking can be found in all literate societies around the globe, differences between cultures develop to a certain degree also from basic distinctions between philosophical ways of thinking. In this sense, the Yijing, or The Book of Changes, classical text not only characterizes the basic mode of Chinese philosophical thinking, but also influences past and present Chinese culture. The Yijing, however, did not only influence Chinese contexts, but from the 18th century on, its impact was felt also in the West. To Jesuit translators, Le

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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 pr

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Tyagunova, E. O. "Japanese Woodblock Prints From the Second Half of the 19th to Early 20th Century in the Context of the Influence to the Western Art." Art & Culture Studies, no. 4 (December 2021): 198–215. http://dx.doi.org/10.51678/2226-0072-2021-4-198-215.

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There are known periods of development of Japanese traditional ukiyo-e engraving: from its origin in the 17th century and its flourishing in the 18th — first half of the 19th century to the “decline” in the second half of the 19th century. The period of Meiji Restoration (1868–1912) was marked by the opening of Japan after more than two hundred years of self-isolation, acquaintance with Western achievements in the field of industry, science and art. The article discusses the search of combination of Western and national traditions by Japanese artists. Familiarity with the new artistic language

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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 p

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Грачева, С. М. "Creative mutual influences of contemporary St. Petersburg and Chinese artists." Iskusstvo Evrazii [The Art of Eurasia], no. 4(23) (December 29, 2021): 86–101. http://dx.doi.org/10.46748/arteuras.2021.04.007.

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Конец ХХ – XXI век — период активного взаимодействия России и Китая в сфере искусства. Китайское изобразительное искусство испытало серьезное влияние русской академической школы и традиций русского реализма в целом. Современная российская живопись также обогащается элементами китайского искусства, поскольку в последние десятилетия чрезвычайно расширились культурные контакты, которые влияют на творчество отечественных художников. В петербургском искусстве происходят интересные процессы взаимодействия и взаимовлияния разных культур. Петербург становится центром пересечения Востока и Запада. Эти

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Wang, Yu, and Zhengding Liao. "Porcelain interior plastic of the 1950s in museums and private collections in China." Issues of Museology 12, no. 1 (2021): 58–67. http://dx.doi.org/10.21638/spbu27.2021.106.

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In the two decades since the establishment of the people’s Republic of China, the challenges facing porcelain production have changed significantly. Porcelain production is one of the most important and oldest traditions in China. In the 1950s, porcelain craftsmen became involved in the creation of new forms of interior plastics. Many of the pieces they created are now part of museum collections and represent the history of the development of Chinese interior porcelain. Using the example of three museums and three reference monuments, the article examines the key trends in the development of p

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15

Chen, Yuxin. "“High the Mountain, Long the River”." Columbia Journal of Asia 1, no. 1 (April 26, 2022): 95–110. http://dx.doi.org/10.52214/cja.v1i1.9275.

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In 1988, the Shanghai Animation Film Studio produced a 19-minute short film Shanshui qing 山水情, known in English as Feeling from Mountain and Water. Devoid of dialogue, the film recounts the friendship between an elderly musician and a young fisherwoman. The last of the Studio’s ink-wash animation project, Feeling from Mountain and Water transfers the visuality of traditional Chinese landscape paintings to the cinematic format. My paper focuses on this market-reform-era production and examines the little-discussed afterlife of landscape art in the medium of animation. Conjoining visual analyses

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Kostova-Panayotova, Magdalena. "“T H E L A N G U A G E S” O F T H E L I T E R A R Y W O R K." Ezikov Svyat volume 18 issue 2, ezs.swu.v18i2 (June 30, 2020): 79–84. http://dx.doi.org/10.37708/ezs.swu.bg.v18i2.10.

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The work of François Cheng – a writer, poet, calligrapher, essayist, academician of Chinese origin and laureate of the French Francophone Academy is undoubtedly part of the cross-cultural literature of the end of the 20th and the beginning of the 21st century, when writers and poets from different, in this case Eastern background, like Yoko Tawada, Anna Moi, Amy Tan, Salman Rushdie, Haruki Murakami and others, have adopted the cross-cultural perspective of the migrant, the person who finds oneself in a context in which one begins to make sense of the living world by reading the foreign signs,

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Yu, Hongbing. "Editorial: What is semiotics but a series of modeling." Chinese Semiotic Studies 17, no. 4 (November 1, 2021): 467–71. http://dx.doi.org/10.1515/css-2021-2032.

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Abstract The present issue of Chinese Semiotic Studies is published in memory of Thomas A. Sebeok. Sebeok was not only a master semiotician, but more importantly a grand artist in semiotics. As one of the most important contemporary figures in semiotics, linguistics, ethnology, and cultural studies, Sebeok made profound contributions to the progress of global semiotics through his distinguished theoretical achievements and promotional activities. His works have proven to be so relevant that they continue to exert a determinative influence and provide directions for the development of semiotics

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Burganova, Maria A. "LETTER FROM THE EDITOR." Scientific and analytical journal Burganov House. The space of culture 17, no. 5 (December 10, 2021): 8–9. http://dx.doi.org/10.36340/2071-6818-2021-17-5-8-9.

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Dear readers, We are pleased to present to you Issue 5, 2021, of the scientific and analytical journal Burganov House. The Space of Culture. Upon the recommendation of the Expert Council of the Higher Attestation Commission, the journal is included in the List of Leading Peer-reviewed Scientific Journals and Publications in which the main scientific results of theses for the academic degrees of doctor and candidate of science must be published. The journal publishes scientific articles by leading specialists in various humanitarian fields, doctoral students, and graduate students. Research are

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Odinokova, P. S. "To the Problem of Attribution of the Albums Ten Landscapes and Travelling Along the River [Painted by] Shitao." Art & Culture Studies, no. 2 (June 2021): 122–39. http://dx.doi.org/10.51678/2226-0072-2021-2-122-139.

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The article is devoted to the albums Ten Landscapes and Travelling Along the River [Painted by] Shitao, attributed to Shitao (1642–1707), a famous Chinese artist and theorist of painting in beginning of the Qing dynasty (1644–1911). The aim of the article is to estab- lish authenticity of the albums. The album Ten Landscapes is in the collection of the State Museum of Oriental Art (Moscow). In 2015 one leaf from it was displayed at the exhibition Classical Painting of China. After visual evaluation and the analysis of painting, calligraphy and seals the author came to conclusion that the album

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Бурова, Александра Сергеевна. "The development of folk art prints in Yangjiabu Village, Shandong Province, China." ТРАДИЦИОННАЯ КУЛЬТУРА, no. 2 (November 11, 2019): 49–60. http://dx.doi.org/10.26158/tk.2019.20.3.004.

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В статье рассматриваются художественные аспекты китайского лубочного промысла в д. Янцзябу близ г. Вэйфан, уезд Вэйсянь, провинция Шаньдун. Данный центр находится на пересечении торговых путей между севером и югом, что позволило его мастерам знакомиться с творчеством своих коллег из других регионов. В результате мы наблюдаем интереснейший путь от прямого копирования до формирования оригинального местного стиля, образов и художественных приемов. В наши дни, на фоне стремительного технического прогресса и социальных изменений в обществе, каждый народный промысел находит свои оригинальные пути ра

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Demchenko, Alexander I. "The Great Saratov Triad of the Early 20th Century." ICONI, no. 3 (2019): 52–64. http://dx.doi.org/10.33779/2658-4824.2019.3.052-064.

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Saratov is justifiably called one of the most significant centers of the artistic culture of the Russian Near-Volga Region. When analyzing the condition of that domain of the plastic arts represented by painting and graphics, it is necessary to state that during the course of the entire 19th century (not to mention the previous century) the figures of the artists were merely episodic: Jean Baptiste Savin, a Frenchman in his origin (famous for his portraits and watercolors), watercolor painter Maria Zhukova, Andrei Godin (who was the first teacher of Mikhail Vrubel) and Feodor Vassiliev (the fi

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Song, Tian. "Composer – Artist: The role of pianist Hsu Fei Ping in the creative activity of Huang An Lun." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 50, no. 50 (October 3, 2018): 43–60. http://dx.doi.org/10.34064/khnum1-50.04.

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Background. The article is dedicated to the creative communication of two outstanding Chinese musicians – a pianist Hsu Fei Ping and a composer Huang An Lun. Complete mutual understanding facilitated their communication. Practically in all his programs, the pianist included the music of Western European and Chinese composers. Critics especially noted that Hsu Fei-Ping had the musical penetration, brilliance and poetry of interpretations. Among many Chinese pianists, he was recognized as the best interpreter of piano works by Huang An Lun. This musician has a special role in the work of Huan An

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Brunetti, Dimitri. "Artists' archives." JLIS.it 13, no. 2 (May 5, 2022): 174–88. http://dx.doi.org/10.36253/jlis.it-468.

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In the last few years, artists' archives have gained a central role in the debate on the nature, treatment and valorization of 20th century and contemporary archives. They are fascinating and precious aggregations, characterized by a plurality of documentary typologies and by specific requirements for their description. Starting from the definition of personal archives, the paper proposes a definition of artists' archives and then attempts to indicate their main characteristics, contents and elements of complexity. Finally, the paper attempts to establish a dialogue between archivists and arti

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Bell, Janis C., and Wendy Slatkin. "Women Artists in History: From Antiquity to the 20th Century." Woman's Art Journal 7, no. 2 (1986): 50. http://dx.doi.org/10.2307/1358308.

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Gabriel, Galina Nikolaevna. "Leningrad artists «Ceramics World» in second half of 20th century." Vestnik of Saint Petersburg State University of Culture 4 (December 2017): 139–43. http://dx.doi.org/10.30725/2619-0303-2017-4-139-143.

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Goh, Younghee. "Food Prose of 20th Century Chinese Intellectuals." Journal of Chinese Studies 101 (August 30, 2022): 357–79. http://dx.doi.org/10.35982/jcs.101.14.

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Rycroft, Simon. "Art and micro-cosmos: kinetic art and mid-20th-century cosmology." cultural geographies 19, no. 4 (August 16, 2012): 447–67. http://dx.doi.org/10.1177/1474474012447538.

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Recent work by cultural geographers on visual art has emphasized performative and participatory aspects focusing upon the embodied and multi-sensory experience of encountering and being part of a work of art. Research on non-figurative art has much to offer in elucidating the relationships and distinctions between representation, non-representation and abstraction. Non figurative artists were representing or enacting a new kind of materiality, one that was putative, in process and ever changing. That materiality was based upon the adoption of a mid-20th-century cosmology and inspired by recent

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White, Moira. "Mid-20th century British ceramics in Aotearoa." Tuhinga 33 (November 2, 2022): 33–46. http://dx.doi.org/10.3897/tuhinga.33.82337.

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Over 1949–1951 the Association of Friends of the Otago Museum purchased approximately 100 pieces of contemporary ceramic work described by them at the time as representing the best current English potters – work they felt would have a lasting value. Muriel Rose, the Crafts and Industrial Design Officer at the British Council, made the selection on their behalf and arranged transport. The group included work from Bernard Leach, the Leach Pottery, Michael Cardew, Katherine Pleydell-Bouverie, Steven Sykes, Henry Hammond and Margaret Leach, as well as Wetheriggs Pottery and examples of work from c

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Alimkulova, Dilzoda. "National Institute of Art and Design named after Kamoliddin Behzod." History Research Journal 5, no. 4 (August 29, 2019): 104–8. http://dx.doi.org/10.26643/hrj.v5i4.7134.

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The art of Uzbekistan of the first decade of 20th century (1920-30s) is worthily recognized as the brightest period in history of Uzbek national art. We may observe big interest among the artwork which was created during the years of Independence of Uzbekistan towards the art of 20th century and mainly it may be seen in form, style, idea and semantics. Despite the significant gap between the 20th century art tendencies and Independence period, there is very big influence of avant-garde style in works of such artists as Javlon Umarbekov, Akmal Ikramjanov, Alisher Mirzaev, Tokhir Karimov, Daima

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Shalyha, O. "UKRAINIAN FINE ART IN CANADA (SECOND HALF OF THE 20th CENTURY)." Bulletin of Taras Shevchenko National University of Kyiv. History, no. 136 (2018): 82–86. http://dx.doi.org/10.17721/1728-2640.2018.136.1.18.

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The article highlights the process of incipience of Ukrainian fine art in Canada. During the second half of the 20th century the Ukrainian diaspora created its own art and multiplied traditional Ukrainian art. Unfortunately, the achievements of the Ukrainian diaspora as a rule aren’t well-known to Ukrainian scientific community. The names of these people have filled up the treasury of spiritual values not only in Ukraine or Canada, but worldwide. Ukrainian artists from Canada have created artistic values reflecting the progress of the world’s fine art and have retained the best traditions of n

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Lipczik, Agata. "Od imitacji do kreacji. Biżuteria sztuczna w 1 poł. XX wieku." Załącznik Kulturoznawczy, no. 6 (2019): 247–62. http://dx.doi.org/10.21697/zk.2019.6.12.

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The article discusses the production of costume jewellery in the first half of the 20th century. During this period, the jewellery made of less expensive materials has undergone a revolution in terms of its function. In the 20th century, the adornments ceased to be only imitations of precious gems and gradually gained their own identity. Promoted by Coco Chanel and, later on, by other French fashion designers, costume jewellery has become an independent genre of body ornament. Due to its lower production costs, Agata Lipczik designers could experiment with various materials, giving free rein t

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Schleicher, Alexander. "Museum of Contemporary Art by Artists." Advanced Engineering Forum 12 (November 2014): 79–87. http://dx.doi.org/10.4028/www.scientific.net/aef.12.79.

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Museum is type of building which among architectural work occupies a special place by its distinct function of documenting existence and progress of humankind, society and their environment. This is reflected in the outstanding architecture of these buildings. 95% of museum buildings arose after World War II. This authorizes us to talk about the museum as a “20th century phenomenon“ especially of the second half of it. The unprecedented growth of museums after World War II – most of them are museums of art, especially contemporary art – entitles a question which is often discussed: What is an

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Moody, Ivan. "Mensagens: Portuguese Music in the 20th Century." Tempo, no. 198 (October 1996): 2–10. http://dx.doi.org/10.1017/s0040298200005313.

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Abstract (sommario):

These lines of Fernando Pessoa (1888–1935), the great poet of Portuguese modernism, may seem at first sight to invoke the principal element of fado, Portugal's national music: the element represented by that famously untranslatable word suadade, implying longing, nostalgia, homesickness … However, they hide far deeper resonances. Mensagen (Message), the poetic sequence from which they come, is a profound exploration of Portugal's history, a modern counterpart to Camoens's great 16th-century epic The Lusiads. It is connected to the nationalist Integralismo Lusitano movement, and to Sebastianism

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Puerto, Cecilia. "Twentieth century Latin American women artists, discovery and record - a work in progress." Art Libraries Journal 20, no. 3 (1995): 15–18. http://dx.doi.org/10.1017/s0307472200009457.

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Abstract (sommario):

The work of Latin American women artists is not adequately documented, nor is it sufficiently recognised in the major art reference works and bibliographies which thus fail to facilitate access even to documentation which is available in the USA. The author has been working towards a bibliographic apparatus that will bring together readily available sources on 20th century Latin American women artists. Much material has been found in the Art Exhibition Catalog collection in the Arts Library at the University of California at Santa Barbara. Two Cuban artists, Ana Mendieta and María Martínez-Cañ

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La, MinhHang. "TEACHING CHINESE CHARACTER IN VIETNAM BEFORE 20TH CENTURY." Han-Character and Classical written language Education 37, no. 1 (May 30, 2015): 119–35. http://dx.doi.org/10.15670/hace.2015.37.1.119.

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Mishchenko, Iryna. "Nature and image: a city in the art of Chernivtsi of the 20th – the beginning of the 21st century." National Academy of Managerial Staff of Culture and Arts Herald, no. 2 (September 17, 2021): 149–53. http://dx.doi.org/10.32461/2226-3209.2.2021.239994.

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Abstract (sommario):

The purpose of this article is to consider the peculiarities of the reflection of the city – its architecture and inhabitants – in the works of Chernivtsi artists of the 20th and early 21st century, to analyze the differences between their views on the reproduction of urban motifs. The methodology consists in the application of the historical-chronological method, art analysis, and generalization, comparative and systematic approach. The scientific novelty lies in the introduction into scientific circulation of works by artists of the specified time, in understanding the evolution in the refle

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Dane, William J. "Public art libraries and artists and designers: a symbiotic scheme for success." Art Libraries Journal 12, no. 3 (1987): 29–34. http://dx.doi.org/10.1017/s0307472200005277.

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Abstract (sommario):

The inter-relationship between art librarians and artists/designers in the public library sector in America has been a reality since the early 20th century when libraries were organized into subject departments. This specialized clientele is eclectic and ranges from novices to the most accomplished artists and includes architects, art directors, illustrators, calligraphers, craftspeople and photographers in addition to painters, sculptors and graphic artists. Materials and services in public art libraries are highly diversified and the literature of other disciplines is also readily available.

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Chernysheva, Anna Igorevna. "N. N. Zeddeler and A. P. Somova-Zeddeler: the forgotten names of early 20th century Russian art. Japonism in Russian printmaking at the beginning of 20th century." Secreta Artis 5, no. 1 (June 9, 2022): 6–23. http://dx.doi.org/10.51236/2618-7140-2022-5-1-6-23.

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Abstract (sommario):

The term japonism refers to a movement within 20th-century Russian art that has so far been insufficiently explored. In the meantime, its popularity at the turn of the 19th and 20th centuries coincided with the extraordinary blossoming of Russian color printmaking. N. N. Zeddeler and A. P. Somova were among those artists, who, along such revered masters like A. P. Ostroumova-Lebedeva and V. D. Falileeva, made a substantial contribution to the development of this art style. To date, their work has not received close attention from researchers. Likewise, there is no literature that would provide

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Portnova, Irina V. "Russian Animalistic Art of the 20th Century as a Special Kind of Fine Art." Observatory of Culture 18, no. 5 (October 29, 2021): 486–95. http://dx.doi.org/10.25281/2072-3156-2021-18-5-486-495.

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Abstract (sommario):

This article aims at analyzing the genre features of the 20th century animalistic art as a special, original phenomenon of Russian artistic culture. There are highlighted the aspects that make up its content basis. The author considers the issues of human perception of an animal, attitude to it, the system of views on the world of flora and fauna, the methods of interpretation of animals and birds. Together, they form the specific characteristics of animalistic art, which appeared in their organized and integral form in the 20th century. The article is relevant because the relationship between

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Tsoumas, Johannis. "Traditional Japanese pottery and its influence on the American mid 20th century ceramic art." Matèria. Revista internacional d'Art, no. 18-19 (September 16, 2021): 139–53. http://dx.doi.org/10.1344/materia2021.18-19.6.

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Abstract (sommario):

The Japanese ceramic tradition that was to emerge along with other forms of traditional crafts through the Mingei Movement during the interwar period, as a form of reaction to the barbaric and expansive industrialization that swept Japan from the late nineteenth century, brought to light the traditional, moral, philosophical, functional, technical and aesthetic values that had begun to eliminate. Great Japanese artists, art critics and ceramists, such as Soetsu Yanagi and Shōji Hamada, as well as the emblematic personality of the English potter Bernard Leach, after caring for the revival of Ja

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Tsyaomin, Mi. "Main Intersections in the Approaches of Russian and Chinese Artists to Chinese Landscapes Painting." Культура и искусство, no. 4 (April 2022): 33–46. http://dx.doi.org/10.7256/2454-0625.2022.4.37855.

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Abstract (sommario):

The article is devoted to the study of Chinese landscapes painting by Chinese and Russian artists. Comparative analysis of landscape painting by Chinese and Russian artists dedicated to China allows to identify the most important trends and patterns in the methods of landscapes painting in Russia and China of the late XX в - early XXI century. The purpose of this study is to determine the main intersections in the approaches of artists of the two countries. The specificity of the artistic and expressive language of Chinese and Russian landscape artists in the embodiment of landscapes of China

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Getashvili, Nina V. "The Mediterranean as a Context and Concept in the Art of Modernism." Scientific and analytical journal Burganov House. The space of culture 18, no. 3 (June 10, 2022): 52–63. http://dx.doi.org/10.36340/2071-6818-2022-18-3-52-63.

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Abstract (sommario):

The “imperious presence” of the region (Fernand Braudel’s words about the Mediterranean from the preface in his work The Mediterranean Sea and the Mediterranean World in the Age of Philip) has been clearly seen in the art of European modernist artists since the beginning of the 20th century. Braudel created his work not only following the methodology of the Annales school but also in the context of the pan-European historiosophical interest of his contemporaries, including artists, in the "region". However, in artists and writers’ understanding, it was Friedrich Nietzsche who marked the initia

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Pawłowska, Aneta Joanna. "Visual text or "words-in-freedom" from Futurism through concrete poetry to electronic literature." Text and Image: Essential Problems in Art History, no. 1 (2019): 90–101. http://dx.doi.org/10.17721/2519-4801.2019.1.06.

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Abstract (sommario):

The aim of the article is to present the changes which the literary text with visual values is subjected to. As the starting point of our intellectual considerations we chose the turning-point between 19th and 20th century, when as a result of artistic actions of such avant-garde artists as Guillaume Apollinaire, Stéphane Mallarmé, dramatic changes in the perception of the semantic meaning of poety occurred, which brought about the situation in which the visual structure of the text became quite essential. In the beginning of the 20th century the need for the necessary changes within the scope

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Kantor, Maxim. "The Renaissance versus the Avant-Garde." Forum Philosophicum 18, no. 2 (January 5, 2014): 139–68. http://dx.doi.org/10.35765/forphil.2013.1802.09.

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Abstract (sommario):

The essay contrasts two recurring phenomena of European culture: renaissance and avant-garde. The author discusses the paradigmatic Renaissance of 15th and 16th centuries and the paradigmatic Avant-Garde of early 20th century from the point of view of a practicing artist, interested in philosophical, social, religious, and political involvements of artists and their creation. The author shows the artistic and social history of 20th century as a struggle between the Avant-Garde and the Renaissance ideals, which, as he points out, found a fertile ground in in the 20 years that followed immediate

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Ittu, Gudrun-Liane. "Siebenbürgisch-deutsche Künstlerinnen vom Ende des 19. und Anfang des 20. Jahrhunderts." Studia Universitatis Babeș-Bolyai Historia Artium 65, no. 1 (December 31, 2020): 127–55. http://dx.doi.org/10.24193/subbhistart.2020.07.

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Abstract (sommario):

"Transylvanian German women artists from the end of the 19th and beginning of the 20th century. The paper is aiming at analyzing the life and art of a group of six German women artists from Transylvania, the first ones who studied abroad, real forerunners for the next generation of female plastic artists. Emancipated ladies, determined to become artists and earn their own money, the gifted women studied in Budapest, Vienna, Munich or Paris. Only Molly Marlin did not come back home, while the others had a prodigious artistic and pedagogical activity, being present at the annual exhibitions, tog

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Blagojevic, Gordana. "Naive art as a story about the ethno/cultural identity of Slovaks in Serbia: The example of Kovacica." Zbornik Matice srpske za drustvene nauke, no. 139 (2012): 185–95. http://dx.doi.org/10.2298/zmsdn1239185b.

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Abstract (sommario):

In this paper, painting is observed as a source for studying the ethnic and cultural identity of Slovaks in Serbia, with the retrospective view to the painters from Kovacica. During the second half of the 20th century there were 60 Slovakian artists in Serbia who dealt with the Naive Art, and 46 of them were from Kovacica. Today, in this majority Slovakian village in Serbia there are 30 people of both sexes who deal with the Naive Art. What do the members of the Slovak ethnic group tell us about their community through their art? Many motives from folk life can be observed in the paintings of

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Xu, Yin, and Xiaoqun Xu. "BECOMING PROFESSIONAL: CHINESE ACCOUNTANTS IN EARLY 20TH CENTURY SHANGHAI." Accounting Historians Journal 30, no. 1 (June 1, 2003): 129–53. http://dx.doi.org/10.2308/0148-4184.30.1.129.

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Abstract (sommario):

This paper examines the experience of Chinese accountants transforming themselves into a profession during the early 20th century. It delineates how the experience was shaped by an intersection of economic development, the political culture and the nationalist movement in semi-colonial Shanghai. Chinese accountants responded to the daily manifestations of these larger historical forces by combining their professional self-interests with a nationalist agenda and by adapting to the changing political environment. The history and legacy of this experience provides a point of reference for observi

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Park, Junghyun. "Early 20th Century Chinese Policy for Koreans in Manchuria." Journal of School Social Work 84 (November 30, 2021): 5–32. http://dx.doi.org/10.37924/jssw.84.1.

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Panggabean, Samsu Rizal, and Benjamin Smith. "Explaining Anti-Chinese Riots in Late 20th Century Indonesia." World Development 39, no. 2 (February 2011): 231–42. http://dx.doi.org/10.1016/j.worlddev.2009.11.036.

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50

Bailey, Paul J. "Globalization and Chinese Education in the Early 20th Century." Frontiers of Education in China 8, no. 3 (September 2013): 398–419. http://dx.doi.org/10.1007/bf03396982.

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