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Artykuły w czasopismach na temat „Chinese artists”

Autor: Grafiati

Data publikacji: 4 czerwca 2021

Data aktualizacji: 1 sierpnia 2024

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1

Zhao, Shuai. "Philosophical Foundations of Contemporary Chinese Neorealism." Общество: философия, история, культура, no. 2 (February 21, 2024): 93–98. http://dx.doi.org/10.24158/fik.2024.2.12.

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Chinese new realism painting is formed under the interaction of western philosophy and Chinese native phi-losophy. Philosophical and cultural theories have had a significant impact on artists’ understanding of real-world problems and the way they conceive art. For some contemporary Chinese artists, philosophical and cul-tural theories have become an integral part of their professional outlook. Neorealist artists depict objective reali-ty according to their feelings, emotions and spiritual values. This paper points out three philosophical concepts that influence Neo-Realism philosophy: symbol p

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2

Meng, Qian. "The Music Image in the Image — On the Visual Representation of the Music Image in the Painting Exhibition of Qiu Xiaofei." Arts Studies and Criticism 3, no. 2 (July 6, 2022): 217. http://dx.doi.org/10.32629/asc.v3i2.919.

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Qiu Xiaofei, an artist, is one of the most popular artists among the post-70 generation of Chinese contemporary painting. You can see from his painting creation, the subject matter of painting works and the working way of creation all start from the artistic concept similar to image text. When artists explain their paintings, the capriciousness of painting creation and the lyricism presented in the works are inseparable from the artist's infatuation with music. In this paper, from the perspective of imagology, through the analysis of the artist Qiu Xiaofei's painting creation of music images i

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Chai, Fangyuan, Kaiping Peng, and Feng Yu. "Pricing Aesthetics: How Cognitive Perception Affects Bidding for Artworks." Social Behavior and Personality: an international journal 44, no. 4 (May 18, 2016): 541–54. http://dx.doi.org/10.2224/sbp.2016.44.4.541.

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There are few studies in which the focus is on cognitive determinants of artwork bidding. Using a micro approach, we explored factors that may influence bidders' offering from a psychological perspective. The 157 participants rated 25 paintings on the price they were willing to offer for works by famous Chinese artists executed in the traditional Chinese style and variants of the same works by a modern Chinese artist working in adaptations of the style of famous Western artists. Results showed that for both the Chinese and Western-style paintings in 3 price anchoring and 3 price nonanchoring c

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4

Zhang, Yue. "Governing Art Districts: State Control and Cultural Production in Contemporary China." China Quarterly 219 (July 24, 2014): 827–48. http://dx.doi.org/10.1017/s0305741014000708.

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AbstractContemporary Chinese artists have long been marginalized in China as their ideas conflict with the mainstream political ideology. In Beijing, artists often live on the fringe of society in “artist villages,” where they almost always face the threat of being displaced owing to political decisions or urban renewal. However, in the past decade, the Chinese government began to foster the growth of contemporary Chinese arts and designated underground artist villages as art districts. This article explores the profound change in the political decisions about the art community. It argues that

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5

Kyan, Winston. "The queer art of Yan Xing: Towards a global visual language of sex, desire and diaspora." Journal of Contemporary Chinese Art 9, no. 1 (July 1, 2022): 157–75. http://dx.doi.org/10.1386/jcca_00060_1.

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This article discusses the work of Yan Xing, who has established an international career as a Chinese diaspora artist. This transnational identity, however, raises certain questions, including how Yan Xing’s work changed from when he lived in China to when he became a US resident in 2015, and how these changes differ from the globalized art of earlier diasporic Chinese artists. Accordingly, this article first argues that overt references in Yan Xing’s earlier work to sex and sexuality shift to an exploration of desire, truth and fiction in his later work that aligns with discourses on queer di

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

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Pan, Gaojie. "Art practices of the Chinese women diaspora: On cultural identity and gender modernity." Journal of Contemporary Chinese Art 9, no. 1 (July 1, 2022): 45–68. http://dx.doi.org/10.1386/jcca_00055_1.

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Since the early twentieth century, Chinese women artists have emigrated to other countries. Their works are influenced and shaped by diaspora experiences, which vary across time phases. However, the world history of diasporic women is often lost in the larger historical narrative. As such, women diaspora artists also remain an under-represented segment in art realms, both within and outside of China. This is a case study of three Chinese diaspora women artists ‐ Pan Yuliang, Shen Yuan and Pixy Liao. Their works reveal engagement in cultural identity as well as gender identity through an autobi

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Cui, Zhenye. "Collision and Challenge: Influences of Sociocultural Contexts in Early 20th Century China on Storm Society Artists Exploration and Practice of Western Modern Art." Communications in Humanities Research 4, no. 1 (May 17, 2023): 596–602. http://dx.doi.org/10.54254/2753-7064/4/20220896.

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This essay engages with the topic of Chinese modern artists introduction and adaptation of Western modern art. This essay conducts its analysis on a modern artist group named the Storm Society (JuelanShe) active in 1920s and 1930s China. Inspired by a social art historical approach, this essay places its focus on the sociocultural contexts specifically present during the active years of Storm Society artists. Three factors are identified to be influential challenges in these artists efforts of exploring and introducing Western modern art to China: Cultural conservatism, inhospitable social env

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9

Kruglova, Maria S. "Trash-art in China and Korea: Struggle for the Cultural Heritage — the Case of Porcelain." Oriental Courier, no. 4 (2022): 117. http://dx.doi.org/10.18254/s268684310023833-4.

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The article discusses examples of trash art created by contemporary Chinese and Korean artists. In view of the environmental and social agenda, contemporary artists often use materials once used for completely different purposes. Chinese and Korean artists are no exception here. The author considers examples of the broken porcelain used to create new art objects created in China and Korea. Beijing-based artist Li Xiaofeng creates wearable dresses from broken porcelain from the Song, Ming, and Qing dynasties, and works with new broken porcelain to create designs with fashion houses such as Laco

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10

Canbolat, Ayse. "Over Thousands: Ai Weiwei and Antony Gormley in Ceramic Perspective." New Trends and Issues Proceedings on Humanities and Social Sciences 4, no. 11 (December 28, 2017): 214–21. http://dx.doi.org/10.18844/prosoc.v4i11.2877.

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Mass production that started with the Industrial Revolution, and the art movements that successively appeared with modernism and the psychological pressure of World Wars I and II affected the artist’s way of expression. This development process in art started with Dada, and was followed by Abstract Expressionism, Pop Art, Conceptual Art and Neorealism. During this period, the perception of uniqueness of an artwork was surpassed an an object or item from daily life started to be exhibited in art galleries. Artworks were made using an object in a composition, and this tendency started to be used

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11

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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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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Vikram, Anuradha. "Spectres of orientalism: Patty Chang and Chinese American art in the pandemic." Journal of Contemporary Chinese Art 9, no. 3 (November 1, 2022): 353–85. http://dx.doi.org/10.1386/jcca_00071_1.

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This article addresses the work of Chinese American interdisciplinary artist Patty Chang over a 25-year period that begins with her groundbreaking short form videos in the 1990s, and considers transitional works in the mid-2000s that led the artist to create two major bodies of work connecting identity issues with climate change since 2009. I discuss Chang’s influence on subsequent generations of Chinese American and Asian American artists, her prescient use of online aesthetics and her complex engagement with the political, social and ecological realities of mainland China and neighbouring Uz

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13

Zhang, Lin, and Taj Frazier. "‘Playing the Chinese card’: Globalization and the aesthetic strategies of Chinese contemporary artists." International Journal of Cultural Studies 20, no. 6 (August 24, 2015): 567–84. http://dx.doi.org/10.1177/1367877915600554.

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This article examines the art and travels of two contemporary Chinese artists – Ai Weiwei and Cai Guo-Qiang – to explore how each of them successfully navigates the rapidly shifting terrains and interests of the Chinese state and the global high art industry while simultaneously articulating a distinct politics and practice of creative ambivalence. We argue that these two artists’ creative productions and strategies: (1) refute various western critics’ critique of Chinese artists as inauthentic imitators of western art who produce exotic representations of China and Chinese identity for wester

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14

Yang, F. "Exhibition of Chinese Artists’ Plein Air Sketches at St. Petersburg Union Of Artists." Университетский научный журнал, no. 52 (2020): 127–35. http://dx.doi.org/10.25807/pbh.22225064.2020.52.127.135.

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Fei, Yan. "Xu Beihong and his activities in the field of popularization of Chinese painting abroad." Культура и искусство, no. 5 (May 2022): 10–18. http://dx.doi.org/10.7256/2454-0625.2022.5.37942.

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The article analyzes the international activities of the outstanding representative of the Chinese art world Xu Beihong. The subject of consideration is the artist's trips to the countries of Europe, Southeast Asia and the USSR in the 30s - early 40s of the XX century. Special attention is paid to how the painter organized the participation of Chinese artists in international exhibition projects. A detailed description of the most significant of them is given. The emphasis is on how Xu Beihong selected works for exhibition projects that could be called "pure and representative Chinese art." Th

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16

Eschenburg, Madeline, та Ellen Larson. "The Round Table 03 圆桌: A Conversation with Xu Bing". Contemporaneity: Historical Presence in Visual Culture 4 (3 серпня 2015): 201–7. http://dx.doi.org/10.5195/contemp.2015.157.

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The following is an excerpt from a conversation between contemporary Chinese artist Xu Bing, Madeline Eschenburg, and Ellen Larson. Xu Bing curated an exhibition at the Central Academy of Fine Arts titled The Second CAFAM Future Exhibition, Observer-Creator: The Reality Representation of Chinese Young Art, on exhibition through March 2015. Our conversation centered around his thoughts on a new generation of young Chinese artists as well as reflection on his own early career and time in New York. The conversation was conducted in Chinese and has been translated into English.

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Юаньпэн, Хуан, and Цинь Тинтин. "The Yellow River in modern Chinese painting: artistic image and means of its expression." Iskusstvo Evrazii [The Art of Eurasia], no. 2(25) (June 30, 2022): 26–35. http://dx.doi.org/10.46748/arteuras.2022.02.002.

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В современных живописных работах художники Китая используют особые средства художественной выразительности, чтобы передать мысли и эмоции, связанные с восприятием природы и жизни в целом. Индивидуальный язык, выработанный живописцем, является тем средством, которое максимально раскрывает творческий замысел художника. И каждая успешная работа подчеркивает уникальные методы художественного выражения идеи мастера. На своеобразие индивидуальной формы выражения влияют и среда формирования творческой личности каждого художника, культурный контекст (большое значение имеют и региональные культуры), дл

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Kuryanova, Anastasia M. "Russian Artists at the Russian Orthodox Ecclesiastical Mission in Beijing in the 19th Century: Some Research Concerns." Oriental Courier, no. 4 (2022): 105. http://dx.doi.org/10.18254/s268684310023832-3.

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In 1830, a Russian painter named Anton M. Legashov (1798–1865) went to Beijing as part of the Russian Orthodox Ecclesiastical Mission becoming the first professional Russian artist in China. In total, four Russian painters visited China being included in the mission: A. M. Legashov, K. I. Korsalin, I. I. Chmutov, and L. S. Igorev. In Beijing, the artists were supposed to paint portraits commissioned by the Chinese and thereby establish useful contacts with influential Chinese officials; in fact, the painters acted as diplomatic agents. At the same time, they had to fulfill the task of the Impe

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19

Merlin, Monica. "Cao Fei: Rethinking the global/local discourse." Journal of Contemporary Chinese Art 5, no. 1 (March 1, 2018): 41–60. http://dx.doi.org/10.1386/jcca.5.1.41_1.

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Cao Fei (b. 1978) was born and raised in the southern Chinese city of Guangzhou by the Pearl River Delta (PRD), ‘the factory of the world’, as the artist defined it. Working with multimedia, primarily video, photography and machinima, her practice engages with popular culture, regional trends and globalized fashions. With an early official participation at the China Pavilion of the Venice Biennale in 2007, Cao Fei is one of the most renowned Chinese artists of the post-Cultural Revolution ‘new new human beings’ (xinxin renlei), and one of the few women artists from the People’s Republic of Chi

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Xiangsheng, Feng. "A Conversation between Chinese Artists and Mexican Painter David Alfaro Siqueiros." ARTMargins 9, no. 1 (February 2020): 92–99. http://dx.doi.org/10.1162/artm_a_00257.

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In October 1956, the Mexican muralist David Siqueiros traveled Beijing and engaged in two dialogues with artists from the Chinese Artists’ Association. His visit came at an inflection point in China’s foreign and cultural policy. As Sino-Soviet relations deteriorated, China used cultural diplomacy to cultivate relationships with unaligned countries in Asia, Africa, and Latin America. China’s cultural policy mirrored this shift by relaxing its adherence to Soviet-style Socialist Realism and promoting new stylistic practices, including a revival of ink painting techniques. This policy shift re-a

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Yang, Fei. "Individual Approaches of Chinese Artists to Landscape Painting." Университетский научный журнал, no. 61 (2021): 265–79. http://dx.doi.org/10.25807/22225064_2021_61_265.

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Jiehong, Jiang. "Contemporary Chinese artists in the globalized art world." Journal of Contemporary Chinese Art 5, no. 1 (March 1, 2018): 3–6. http://dx.doi.org/10.1386/jcca.5.1.3_2.

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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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Wang, Yang. "Envisioning the Third World: Modern Art and Diplomacy in Maoist China." ARTMargins 8, no. 2 (June 2019): 31–54. http://dx.doi.org/10.1162/artm_a_00234.

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In the mid-1950s, China conducted robust cultural exchange with the Third World in tandem with a parallel political program to influence non-aligned nations in contestation to the Soviet Union and Western powers. This article examines this underrecognized facet of Maoist-era art through the international engagements of two Xi'an artists, Shi Lu (1919–1982) and Zhao Wangyun (1907–1977), who traveled to India and Egypt as cultural attaché of the Chinese state. By tracing the travels of the two artists in light of their artistic and theoretical formulations, this article argues that contact with

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Cao, Jing. "Introduction to “A Conversation between Chinese Artists and Mexican Painter David Alfaro Siqueiros”." ARTMargins 9, no. 1 (February 2020): 83–91. http://dx.doi.org/10.1162/artm_a_00256.

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In October 1956, the Mexican muralist David Siqueiros traveled Beijing and engaged in two dialogues with artists from the Chinese Artists’ Association. His visit came at an inflection point in China’s foreign and cultural policy. As Sino-Soviet relations deteriorated, China used cultural diplomacy to cultivate relationships with unaligned countries in Asia, Africa, and Latin America. China’s cultural policy mirrored this shift by relaxing its adherence to Soviet-style Socialist Realism and promoting new stylistic practices, including a revival of ink painting techniques. This policy shift re-a

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Lizun, Damian, Teresa Kurkiewicz, Bogusław Szczupak, and Jarosław Rogóż. "A Multi-Analytical Investigation of Liu Kang’s Colour Palette and Painting Technique from the Shanghai Period (1933–1937)." Applied Sciences 13, no. 4 (February 13, 2023): 2414. http://dx.doi.org/10.3390/app13042414.

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This study presents the analytical characterisation of Liu Kang’s paint mixtures and the painting technique used during the important Shanghai artistic phase (1933−1937). Liu Kang (1911–2004) was a Chinese artist who received an academic art education in Shanghai (1926–1928) and Paris (1929–1932). He settled permanently in Singapore in 1945 and became a leading contributor to the national art scene. This study showcases 12 paintings on canvas from the collections of the National Gallery Singapore and the Liu family. An integrated approach combined non- and micro-invasive analytical methods sup

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Ong, Emelia Ian Li. "Resistance and Representation: The Making of Chinese Identity in the Art of The Yiyanhui and the Equator Art Society in 1950s Singapore." Wacana Seni Journal of Arts Discourse 19 (December 31, 2020): 13–27. http://dx.doi.org/10.21315/ws2020.19.2.

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This paper examines the social realist paintings of the art groups Yiyanhui and the Equator Art Society which emerged during the 1950s in Malaya and Singapore. Their works centred on the social functions of art and its subject matters featured the working class, the Japanese occupation and anti-British colonial sentiment. Their artworks are viewed here as cultural productions shaped by the negotiation between dominant-subordinate relationships within a postcolonial framework. It is argued that the artistic productions examined here may be viewed not only for its overarching “social realist” en

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Leibenluft, Michael, and Maja-Stina Johansson Wang. "Spiritual Farming: Performance at Shanghai's Downstream Garage." TDR/The Drama Review 58, no. 1 (March 2014): 24–41. http://dx.doi.org/10.1162/dram_a_00326.

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Since 2004, Shanghai's Downstream Garage has been a center for independent artists who challenge the conventions that limit the language, physicality, and content of contemporary Chinese performance. By presenting unregistered open rehearsals and providing space free of charge, Downstream minimizes the commercial pressures and strict governmental oversight that typically confine Chinese artists.

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Conceison, Claire. "What's New-and Renewed-Onstage in China." TDR/The Drama Review 47, no. 1 (March 2003): 74–80. http://dx.doi.org/10.1162/105420403321250008.

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This new feature of TDR presents reports on various performances and artists. In this issue we offer an account of the 2002 Chinese theatre season, a performance rumination on the atomic bomb and 9/11, the experience of groupies at a parodic “cock-rock” concert, and a selection of performative haikus composed by a San Francisco performance artist.

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Bai, Jie. "Artistic activity of Russian-Soviet artists in Harbin and Shanghai China during the period of the Republic of China (1912–1949)." Человек и культура, no. 5 (May 2023): 69–84. http://dx.doi.org/10.25136/2409-8744.2023.5.43954.

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This article mainly studies and analyzes the artistic activity of Soviet artists in Harbin and Shanghai during the period of the Republic of China. Due to their special geographical location, Harbin and Shanghai have always been centers of dissemination and artistic exchange of Soviet art and culture in China. The subject of the study is various types of art education and artistic activities that Soviet artists carried out in China during the period of the Republic of China. The object of the study is the influence that the spread of Soviet realistic painting in China had on the development of

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Valjakka, Minna. "Parodying Mao’s Image: Caricaturing in Contemporary Chinese Art." Asian Studies, no. 1 (December 1, 2011): 87–114. http://dx.doi.org/10.4312/as.2011.-15.1.87-114.

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Although Chinese contemporary artists are often criticized for creating superficial works that parody Chairman Mao without any deeper meaning, the employment of parody is a far more complex phenomenon. Instead of being representatives of Jamesonian pastiche, many artists employ varying methods of trans-contextual parody to express their mixed and even controversial intentions and notions. With a detailed structural analysis of the art works, and taking into account the socio-cultural context and the artists’ own intentions, I will show that the common assumptions—that parodying Mao is equivale

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Pranoto, Iwan, M. Agus Burhan, and Muhamad Romadoni. "Tracing Bong Lie Phin’s ceramic artistry in Singkawang: unveiling cultural heritage and technological advancements (1989-2020)." Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni 18, no. 1 (June 22, 2023): 69–81. http://dx.doi.org/10.33153/dewaruci.v18i1.5188.

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Ceramics by artist Bong Lie Phin has a historical record in the world of art by bringing social change to form a new culture through ceramic works. Another thing about ceramic development technology. This research is important in order to provide renewal through ceramic works. As for the research question, namely, how are inductive empiricism, reconstruction, and humanism related to ideas, society, and technology? This research process used qualitative methods with historical, social, and technological approaches and data collection techniques through interviews, literature studies, notes, and

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Bao, Hongwei. "The wedding complex: Chinese queer performance art as social activism." Journal of Contemporary Chinese Art 10, no. 1 (August 1, 2023): 39–63. http://dx.doi.org/10.1386/jcca_00075_1.

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Through public, intentional and interventionist displays of the queer body, queer Chinese artists have used performance art for identity expression, community building and social activism. This article focuses on some of these queer performance artworks, those that engage with the theme of weddings; that is, performance artworks that draw on and critique the social conventions of wedding ceremonies. Focusing on five case studies – the lesbian artist duo Shi Tou and Ming Ming’s photography and installation about queer women’s intimacy; queer filmmakers Fan Popo and David Zheng’s 2009 film New B

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Xing, Nizhen. "Associations of Chinese Artists in the World and Promotion of Chinese Art Abroad." Университетский научный журнал, no. 65 (2022): 163–72. http://dx.doi.org/10.25807/22225064_2021_65_163.

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Luo, Yun, Pengcheng Xiang, and Bo Li. "Research on Sustainable Development Model of Chinese Artist Village." Buildings 13, no. 1 (January 9, 2023): 164. http://dx.doi.org/10.3390/buildings13010164.

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As a development form of the creative industry, the Artist Village is a high concern of the Chinese government, and it has achieved rapid developments in China in recent years. However, many Artist Villages come to an untimely end a short period after their birth and fail to realize sustainable development. In this study, an empirical analysis on 80 Artist Villages in China was carried out. A field investigation and research on eight Artist Villages was implemented. Attention was paid to thoroughly analyze three typical Artist Villages of Guangzhou Xiaozhou Artist Village, Chongqing Gujianshan

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Fong, Mary H., Marsha Weidner, Ellen Johnston Laing, Irving Yucheng Lo, Patricia Fister, and Lucy Lim. "Views from Jade Terrace: Chinese Women Artists 1300-1912." Woman's Art Journal 17, no. 1 (1996): 41. http://dx.doi.org/10.2307/1358528.

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Zhang, Suixin. "Chinese Artists Living Abroad: Art, Cultural Identity and Hybridity." Advances in Social Science and Culture 4, no. 1 (February 27, 2022): p39. http://dx.doi.org/10.22158/assc.v4n1p39.

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This article will reveal the discussion of identity conflict between past and present Chinese art practice abroad through reflection on the Art works- Trace, and through Homi Bhabha’s theory of identity hybridization. It seeks to explore the significance of the individual and its connection to the globalized art theme.

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Lee, Joohyun. "Chinese Artists visiting North Korea during the Korean War." Journal of Korean Association of Art History Education 30 (August 31, 2015): 187. http://dx.doi.org/10.14769/jkaahe.2015.08.30.187.

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Yi, Gu. "The “Peasant Problem” and Time in Contemporary Chinese Art." Representations 136, no. 1 (2016): 54–76. http://dx.doi.org/10.1525/rep.2016.136.1.54.

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This article examines the time-based artworks involving peasants as participants, coworkers, and fellow artists that were created by Chinese artists during the first decade of the millennium. These works bring into relief China’s postsocialist reality and socialist legacy, offering a unique perspective on the politics of time in global contemporary art.

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Xing, Nizhen. "Associations of Artists of “Greater China” in the System of Creative Unions of the Chinese Artists." Manuskript, no. 12 (December 2021): 2876–81. http://dx.doi.org/10.30853/mns20210499.

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Furmanik-Kowalska, Magdalena. "Which tradition is mine? Chinese women artists and cultural identity." Journal of Contemporary Chinese Art 6, no. 2 (September 1, 2019): 305–19. http://dx.doi.org/10.1386/jcca_00009_1.

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Abstract References to native culture are frequently in the foreground of works by Chinese women artists. When they make contact with different cultures, although not necessarily connected with leaving their place of birth thanks to the transfer of information and cultural heritage that has developed extremely efficiently in the era of globalization (Gordon Mathews), they see their own entanglement in the cultural tradition. In the process of constructing their identity they try to find answers to the following question: which part of the cultural tradition is mine? Which one do I identify wit

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Sur, Heui-yeon. "A Study on the Art Strategy of Wenda Gu." Korean Society of Calligraphy 41 (September 30, 2022): 213–45. http://dx.doi.org/10.19077/tsoc.2022.41.09.

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The purpose of this research is to find out what strategies Chinese artist Wenda Gu (1955~) used to build awareness in the international art world and China. In the early 1980s, the trend of modern Western philosophy and modern art flowed into China following the wave of China's reform and opening up. In addition, global interest in Chinese contemporary art is increasing. Amid this trend, the 85 New Wave, which called for the modernization of Chinese art, served as a turning point in history as a major event that revealed its presence in the global art world. In this study, Wenda Gu, a l

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Lu, Sa. "The role of the "plum blossom" in the development of traditional landscape painting in China." Философия и культура, no. 7 (July 2022): 139–47. http://dx.doi.org/10.7256/2454-0757.2022.7.38534.

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The article analyzes the works of Chinese artists of various historical eras who used a stylistic and thematic direction with the image of a plum blossom. The artists' appeal to images of nature to convey feelings and experiences contributed to the emergence of this image and its formation as a symbol of steadfastness and inflexibility of character. Thus, the subject of the proposed study is Chinese painting, the object is the formation of such a common motif as a plum blossom. The purpose of this publication is to determine the main types of images of this image in Chinese traditional paintin

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Huang, Yuanpeng, and Galina Alekseeva. "The Image of the Yellow (Huang He) River in Chinese Painting." Bulletin of Baikal State University 31, no. 4 (December 28, 2021): 546–52. http://dx.doi.org/10.17150/2500-2759.2021.31(4).546-552.

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The article is devoted to the creative works of artists who have created pictures of life of the people living along the Yellow (Huang He) River in all nine regions of China. The Huang He River, as the main artery of the country, has long been the subject of study by historians, writers and painters. However, contemporary artists who dedicated their works to the river have not been researched. This work examines the collective image of the Huang He River in the works of Chinese artists from the 1980s to the present day in order to get acquainted with its peculiarities. The methodological basis

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Cooper, Sarah. "Decolonial gesture and the screening of the botanical artist in Miasma, Plants, Export Paintings (Bo Wang and Pan Lu, 2017)." Alphaville: Journal of Film and Screen Media, no. 23 (July 15, 2022): 93–110. http://dx.doi.org/10.33178/alpha.23.05.

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Bo Wang and Pan Lu’s split-screen video essay Miasma, Plants, Export Paintings (2017) charts the relationship between its titular categories and British imperialism in China, especially the colonial possession of Hong Kong as a result of the Opium Wars in the nineteenth century. It centres on the collecting of plants from China for the Royal Botanic Gardens at Kew, along with their documentation through botanical drawings by local Chinese artists. The video essay shows fleeting glimpses of several anonymous Chinese paintings, revealing in the process the dual sense of screening at the heart of

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

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The article discusses the origin and evolution of women's visual art in China. The development of this artistic direction was due to the radical social transformations since the beginning of the Open Door Policy in 1978. Analysis of the art by Li Hong, Cui Xiuwen, Feng Jiali, Yuan Yaomin and others reveals main features of the evolution of women's creativity in China. The search and acquisition of female identity, the destruction of psychological barriers imposed by traditional ideas and stereotypes about a woman, her physicality, beauty, etc., the study of gender differences, the reflection o

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Yung, Danny, and Maciej Szatkowski. "Cultural Institution and Institutional Culture from the Transcultural Perspective: What Is the Culture behind the Stage, and What Is the Culture inside a Cage?" Pamiętnik Teatralny 72, no. 3 (September 1, 2023): 73–86. http://dx.doi.org/10.36744/pt.1476.

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This article presents the profile of the East Asian theatre artist Danny Yung, director of the acclaimed Zuni Icosachedron theatre in Hong Kong. In the first part, Maciej Szatkowski offers a synthesis of his artistic biography, from his early years as a theatre maker in Hong Kong in the 1980s to the creation of a transnational Chinese theatre, which provides a space for artistic encounters of established and emerging artists from the Sinosphere and beyond. The article focuses on highlighting the main areas of Yung’s work and contextualizing them in terms of the realities of Chinese cultural li

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Sur, Heui-yeon. "A Study on the Application and Analysis of Chinese Characters and Calligraphy in Avant-Garde Art in China 1980’s - Focusing on Gu Wenda,Wu Shanzhuan , and Xu Bing." Korean Society of Calligraphy 42 (March 31, 2023): 151–85. http://dx.doi.org/10.19077/tsoc.2023.42.6.

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This study focuses on word and image in Chinese avant-garde art in the 1980s. It focuses on the works of Gu Wenda, Wu Shanzhuan, and Xu Bing. It investigates the significance of their anti-art practice activities in China's political, social, and cultural background in the 1980s. It examines what their activities mean in the history of modern Chinese art. After the end of the Cultural Revolution, a large number of Western ideas flocked to China in the 1980s with reform and opening, and discussions on humanities were held with unprecedented personnel. After the end of the Cultural Revolution, m

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Bai, Shuai. "Research on the Teaching of Color Composition in Chinese Painting." Общество: социология, психология, педагогика, no. 11 (November 29, 2023): 193–99. http://dx.doi.org/10.24158/spp.2023.11.26.

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Painting of the Celestial Empire is a reflection of the wisdom of its people in art and characterizes the Chinese civilization as one of the most developed in the world of classical culture. The use of color in Chinese painting has been appreciated by artists for thousands of years. If artists use the visual and aesthetic psychological per-spective of color in their paintings, they can better reflect and express their true feelings, which greatly enhanc-es the artistic meaning and significance of their works, and meets the aesthetic requirements and sensory needs of modern people. Color compos

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Lin, Jenny. "Old Is the New: Immersive Explorations in Another Beautiful Country—Moving Images by Chinese American Artists." Arts 12, no. 6 (October 28, 2023): 224. http://dx.doi.org/10.3390/arts12060224.

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This article explores how diasporic Chinese video artists present familial histories and tales of cross-cultural exchange in the context of an exhibition I am curating, Another Beautiful Country: Moving Images by Chinese American Artists, at the University of Southern California (USC) Pacific Asia Museum. I discuss projects by featured artists Richard Fung and Patty Chang. These artists’ experimental documentaries and performative videos foster deep personal discoveries that defy the late-capitalist obsession with the new as defined by youth, novelty, and the next trend, providing revelatory i

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