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1
Zhao, Shuai. „Philosophical Foundations of Contemporary Chinese Neorealism“. Общество: философия, история, культура, Nr. 2 (21.02.2024): 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 philosophy, value philosophy and life philosophy. These philo-sophical schools have influenced the most important conceptual attributes of creation and reflected the particu-larity of neo-realists’ cognition of the world. The particularity of the philosophical and cultural interpretation of the new realist artist’s creation lies in the artist’s high subjectivity, criticism and individualization. It is this philo-sophical premise that opens up a broad space for free creation, showing the subjective understanding of reali-ty, reflecting the inner world of the individual and the interpretation of reality in the works.
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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, Nr. 2 (06.07.2022): 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 in the exhibition, it can be seen that his image text is closely related to music when transformed into visual images, and the concept of "empathy" behind the transformation of the painting form of the artist is elaborated.
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Chai, Fangyuan, Kaiping Peng und Feng Yu. „Pricing Aesthetics: How Cognitive Perception Affects Bidding for Artworks“. Social Behavior and Personality: an international journal 44, Nr. 4 (18.05.2016): 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 conditions, 3 factors affected the bidding for the artworks: positive attraction, artistic quality, and cognitive stimulation. Of these factors positive attraction and artistic quality were the primary influences. In each condition, positive attraction was always the positive predictor of the bidders' offering, emphasizing the importance of the artwork's aesthetic value. In contrast, artistic quality deterred participants from bidding. In addition, whether or not there was a reference-point price made a difference in the traditional Chinese group of artworks. Bidders wished to offer a higher price only if the price had been high for the previous example of this artist's work that had sold.
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Zhang, Yue. „Governing Art Districts: State Control and Cultural Production in Contemporary China“. China Quarterly 219 (24.07.2014): 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, despite the pluralization of Chinese society and the inroads of globalization, the government maintains control over the art community through a series of innovative mechanisms. These mechanisms create a globalization firewall, which facilitates the Chinese state in global image-building and simultaneously mitigates the impact of global forces on domestic governance. The article illuminates how the authoritarian state has adopted more sophisticated methods of governance in response to the challenges of a more sophisticated society.
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Kyan, Winston. „The queer art of Yan Xing: Towards a global visual language of sex, desire and diaspora“. Journal of Contemporary Chinese Art 9, Nr. 1 (01.07.2022): 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 diasporas and minor theories. Secondly, this article argues that the new generation of Chinese diaspora artists live and work in a different political climate from the earlier generation of Chinese diaspora artists; the new generation works in an art world in which they are not exoticized objects, but actively participates in the making of a global visual language.
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Clunas, Craig. „Chinese Art and Chinese Artists in France (1924-1925)“. Arts asiatiques 44, Nr. 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, Nr. 1 (01.07.2022): 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 autobiographical approach. For cultural identity, dynamic interaction between the culture of the artist’s homeland and that of her host country play a vital role throughout their art practices. Rather than using elements of typical Chinese cultural heritage, women artists tend to engage in cultural emblems, which connect to their personal-gendered experiences. Albeit confronting the double otherness on cultural and gender identity in a foreign country, the experience of diaspora pushes women artists to pursue independence, self-awakening and broader world-views. With modern conceptions of gender, their practices, particularly the family-theme, convey reflections on the conventional ideology of the family, as well as traditional gender roles.
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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, Nr. 1 (17.05.2023): 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 environment, and Japanese Invasion in World War II. On the level of academic study about Chinese modern art, this essay highlights the importance to take into account specific cultural and social contexts in analysis of its history.
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Kruglova, Maria S. „Trash-art in China and Korea: Struggle for the Cultural Heritage — the Case of Porcelain“. Oriental Courier, Nr. 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 Lacoste and Alexander McQueen. Korean ceramist Yee Soo Kyung takes broken porcelain to create oddly shaped vases and sculptures using the traditional Japanese kintsugi restoration method. Recycled China creates art panels and functional flowerpots from scrap Jingdezhen porcelain and aluminum. Lei Xue works in a different plane of trash art. The artist creates products from new materials, imitating garbage, for example, crumpled tin cans. At the same time, the author paints his products with patterns traditional for Chinese porcelain. Author concludes that, unlike Western artists concerned about environmental issues, Eastern ones are more often concentrated on the preservation of cultural heritage. They are trying to present old, crashed traditional art objects in a new, more attractive light for modern society needs, as well as to fit objects into the modern social agenda, more precisely, to make them “fashionable”.
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Canbolat, Ayse. „Over Thousands: Ai Weiwei and Antony Gormley in Ceramic Perspective“. New Trends and Issues Proceedings on Humanities and Social Sciences 4, Nr. 11 (28.12.2017): 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 by artists. Two artists who made their projects in ceramics are chosen in the research, and it is discussed why they used thousands of objects, and the conceptual perception of the work through the examples of ‘Sunflower Seeds’ by Chinese artist Ai Weiwei and ‘Field in the British Isles’ by English artist Antony Gormley. Keywords: Ceramic art, Ai Weiwei, Antony Gormley, installation, thousands.
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Tsyaomin, Mi. „Main Intersections in the Approaches of Russian and Chinese Artists to Chinese Landscapes Painting“. Культура и искусство, Nr. 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 is determined primarily by the influence of the modern national school of painting, as well as the desire to develop and update existing traditions, finding inspiration in foreign experience, coming into contact with foreign culture and artistic tradition. The main conclusions of the study are that landscape painting by artists of Russia and China reveals similarities in formal terms: artists of both countries use techniques of both, realistic school and impressionism. Scientific novelty is determined by the fact that the mechanism of integration of the principles of realism and Western impressionism by Chinese painters is revealed. The author introduces an extensive body of artistic materials of Russian and Chinese painters into Russian science, notes that there are significant differences between the artists of the two countries.
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Vikram, Anuradha. „Spectres of orientalism: Patty Chang and Chinese American art in the pandemic“. Journal of Contemporary Chinese Art 9, Nr. 3 (01.11.2022): 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 Uzbekistan. After contextualizing Chang’s influence through the lens of her inclusion in the group exhibition Wonderland with nine other Chinese Diasporic artists, I consider the impact of COVID-19 and anti-Asian violence in the United States and globally on the direction of Chang’s work and discuss the experience of curating her recent project during the pandemic shutdown.
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Zhang, Lin, und Taj Frazier. „‘Playing the Chinese card’: Globalization and the aesthetic strategies of Chinese contemporary artists“. International Journal of Cultural Studies 20, Nr. 6 (24.08.2015): 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 western consumption; (2) call into question the Chinese government’s numerous efforts to simultaneously promote and control Chinese contemporary art for nationalist/statist purposes. Furthermore, we unpack how both artists deploy various resources to produce complex works that interrogate and demonstrate the clashes of power, culture and identity in global spaces of encounter.
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Yang, F. „Exhibition of Chinese Artists’ Plein Air Sketches at St. Petersburg Union Of Artists“. Университетский научный журнал, Nr. 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, Nr. 5 (Mai 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." The role of Xu Beihong in the popularization of Chinese art is also revealed. The article reveals for the first time the stages and features of the activities of the outstanding Chinese artist Xu Beihong, focused on the popularization of Chinese fine art and culture outside China. As a conclusion, it is argued and argued that Xu Beihong's activities abroad, which included a variety of forms of representation of Chinese painting – exhibitions, lectures, master classes, scientific reports, information platforms, etc., was the first serious step that allowed showing the heritage of Chinese art culture to the general public outside China, to bring Chinese painting to the international arena.
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Eschenburg, Madeline, und Ellen Larson. „The Round Table 03 圆桌: A Conversation with Xu Bing“. Contemporaneity: Historical Presence in Visual Culture 4 (03.08.2015): 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, und Цинь Тинтин. „The Yellow River in modern Chinese painting: artistic image and means of its expression“. Iskusstvo Evrazii [The Art of Eurasia], Nr. 2(25) (30.06.2022): 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), длительное формирование индивидуального образа мысли и образование, которое получает живописец. Своеобразие регионального культурного наследия и особый ландшафт бассейна реки Хуанхэ создали оригинальный стиль многих художников. Исследование индивидуального художественного языка связано с несколькими аспектами: пространственной композицией, колористикой, структурой мазка и другими. В данной статье проанализирован образ реки Хуанхэ в китайской масляной живописи, а также индивидуальный подход ряда художников к его воплощению. Modern Chinese artists, expressing the image of Yellow River, use special means of artistic expression to convey thoughts and emotions related to the perception of nature and life in general. The individual language of the painter is the means that maximizes the artist's creative intent. And each successful work emphasizes the unique methods of artistic expression of the master's idea. The originality of the individual form of expression is also influenced by the environment in which the creative personality of each artist is formed, the cultural context (regional cultures are also of great importance), the long-term formation of an individual way of thinking and the education that the painter receives. The peculiarity of the regional cultural heritage and the special landscape of the Yellow River Basin have created the original style of many artists. The study of an individual artistic language is associated with several aspects: spatial composition, coloring, stroke structure, and others. This article analyzes the image of the Yellow River in modern Chinese oil painting, as well as the individual approach of a number of artists to its expression.
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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, Nr. 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 Imperial Academy of Arts, St. Petersburg, which instructed them to collect visual evidence about the life, customs and views of the distant eastern country. Upon arrival in China, Russian painters were introduced to a unique artistic scene of the late Qing Dynasty, where Chinese, European and Occidental art interacted. Thanks to that, the work of Russian artists acquired a very distinctive look. However, nowadays the heritage of these painters is practically not studied due to several issues connected with a small number of their surviving works, questionable attribution, unclear provenance, insufficient study of neighboring artistic phenomena, such as Chinese export art or the art of the followers of Giuseppe Castiglione and other Jesuit artists at the Chinese imperial court. The article is thus devoted to the analysis of the difficulties regarding the study of the work of Russian artists at the Russian Orthodox mission in Beijing. The identification and analysis of these research concerns will allow to further develop methodology for studying the work of these painters, whose unique oeuvre remains a noticeable gap in Russian art history, while the history of the Russian Ecclesiastical mission itself or the art of Western missionaries in China have been deeply analyzed by both Russian and foreign scholars.
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Merlin, Monica. „Cao Fei: Rethinking the global/local discourse“. Journal of Contemporary Chinese Art 5, Nr. 1 (01.03.2018): 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 China who has been recognized and collected internationally by art establishments such as the Tate Collection in Britain, the Centre Pompidou in Paris and MoMA in New York. This article proposes to use Cao Fei’s work to explore the limitations of the global/local discourse and offer a more nuanced and complex understanding of this dichotomy in Chinese contemporary art.
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Xiangsheng, Feng. „A Conversation between Chinese Artists and Mexican Painter David Alfaro Siqueiros“. ARTMargins 9, Nr. 1 (Februar 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-animated a debate among Chinese artists over the best mode of representation for socialist art, with one side arguing that Soviet-style Socialist Realism was the only acceptable style, and the other advocating for the reform of Chinese ink painting techniques. Within this context, Siqueiros’s criticism of Soviet artists and his advice to follow Chinese stylistic traditions set off a rich discussion on new approaches to Socialist Realism within China.
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Yang, Fei. „Individual Approaches of Chinese Artists to Landscape Painting“. Университетский научный журнал, Nr. 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, Nr. 1 (01.03.2018): 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, Nr. 3 (10.09.2021): 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 significant transformation. The work of professional artists Chŏng Sŏn and Pyŏn Sangbyŏk presents a new realistic approach to hwajohwa painting. Artists began to carefully observe the structural characteristics of the depicted objects of wildlife. Also, artist Sim Sajŏng was a recognised master of the bird-and-flower genre. His work was based on the Chinese “southern school” pictorial principles and aesthetics, the influence of which was strong in Korea. Kim Hondo, the leading artist of the late Chosŏn period, actively used traditional landscape as a background for his works with flowers and birds. However, in depicting living creatures, he did not use formal templates, painting birds in realistic nature scenes. Kim Hondo contributed significantly to the development of Korean traditional painting and the hwajohwa genre. The popularity of the bird-and-flower genre in the late Chosŏn period is mainly due to economic growth and the improvement in the welfare of ordinary people. Most of the works of this genre were created by artists from the people. The works were examples of the so-called minhwa folk painting, which developed in accordance with the requests of a new customer, a native of the lower and middle classes. Such works combined auspicious symbols and were the embodiment of the highest harmony of nature. However, they also began to be used simply to decorate the house. In the hwajohwa painting of the 19th century, a new approach to the depiction of an artist’s personal experiences was reflected; such trends were mixed with the traditional “painting of ideas”. The birdand-flower genre acquired a free style and conveyed fresh aesthetic feelings under the influence of the work of artist Chang Sŭngŏp, whose pictorial approaches were continued and developed by masters at the very end of the Chosŏn era.
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Wang, Yang. „Envisioning the Third World: Modern Art and Diplomacy in Maoist China“. ARTMargins 8, Nr. 2 (Juni 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 decolonizing spheres of the Third World inspired Chinese artists to embrace forms of indigenous Chinese art like ink painting in rejection of Euro-American modernism. In solidarity with other non-Western art spheres that developed similar nativist responses to the hegemony of Western modernism, Chinese artists belonged to a global postwar movement to assert political independence through artistic autonomy and national style.
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Cao, Jing. „Introduction to “A Conversation between Chinese Artists and Mexican Painter David Alfaro Siqueiros”“. ARTMargins 9, Nr. 1 (Februar 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-animated a debate among Chinese artists over the best mode of representation for socialist art, with one side arguing that Soviet-style Socialist Realism was the only acceptable style, and the other advocating for the reform of Chinese ink painting techniques. Within this context, Siqueiros’s criticism of Soviet artists and his advice to follow Chinese stylistic traditions set off a rich discussion on new approaches to Socialist Realism within China.
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Lizun, Damian, Teresa Kurkiewicz, Bogusław Szczupak und Jarosław Rogóż. „A Multi-Analytical Investigation of Liu Kang’s Colour Palette and Painting Technique from the Shanghai Period (1933–1937)“. Applied Sciences 13, Nr. 4 (13.02.2023): 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 supplemented with archival sources and enabled characterising the investigated paint mixtures and revealing details of the artist’s painting technique. The study has proved the artist’s ability to produce a variety of hues by utilising a conventional palette of colours. The predilection for ultramarine, viridian, yellow and red iron-rich earth pigments, umber, yellow chromate pigments, as well as lead white, zinc white or Zn-base compounds like lithopone and barium white was recorded. The study emphasises a minor use of Prussian blue, emerald green, cadmium yellow or its variant and bone black. Although it remains unknown what brands of paints Liu Kang used, the available archival sources give insights into the painting materials available in Shanghai that the artist could have had at his disposal during the period under review. The archival information is based on the Chinese and overseas colourmen advertisements printed in Chinese journals and the respective contemporary colourmen catalogues. The artist’s painting technique departs from the experimental approach of his Paris phase. In Shanghai, he focused on synthesising the painting principles of the School of Paris with traditional Chinese calligraphy. The outcomes of this research may support future technical studies of works by other artists contemporary to Liu Kang and who were active in pre-war Shanghai.
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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 (31.12.2020): 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” endeavours but, also as a struggle to rewrite the narrative of the Chinese in Malaya against of the prevailing static representations forwarded by the colonial campaign. The first part of the paper illustrates how colonial discourse in the local press propagated an image of the Chinese as inherently susceptible to communism, untrustworthy, and opportunistic. The second part of the paper shows how the artists resisted this essentialist image of Chinese identity and offered a more complex picture of a Chinese-Malayan identity. Through a combination of interviews, written artist’s statements, formal and contextual considerations of the artworks, as well as a cultural studies framework, I demonstrate how a different narrative is being offered by these artists through two related processes in identity construction: qualifications for authenticity and belonging, the articulation of ambivalence. Resistance thus, is explored as encompassing a network of strategies employed by these artists as a way to reject colonialist representations of otherness and gain authorial agency against the intellectual and ideological dominance of colonial discourse.
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Leibenluft, Michael, und Maja-Stina Johansson Wang. „Spiritual Farming: Performance at Shanghai's Downstream Garage“. TDR/The Drama Review 58, Nr. 1 (März 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, Nr. 1 (März 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, Nr. 5 (Mai 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 modern Chinese art in the XX century. The author pays special attention to the analysis of the profound impact that the appearance of various art studios created in China, acquaintance with the artistic work of Soviet artists, as well as training with the owl, have had on the development of modern Chinese art. Soviet art has been the basis for the development of modern Chinese art from the very beginning. The novelty of this study lies in the fact that the author addresses a little – explored topic – how the arrival of Soviet artists in China, which coincided with the "Movement of Foreign Painting" in the Republic of China, influenced the formation of Chinese art. Soviet artists strongly supported the innovative artistic creativity of Chinese artists and at the same time contributed to the dominance of Soviet realistic art in the artistic landscape during the formation of China. The main conclusions of the study are that the mass spread of Soviet art in China created new ground for traditional Chinese art, gave a continuation and a new life to traditional painting. To a certain extent, this influenced the artistic and aesthetic preferences of that time and even the general public, and also directly affected the development of Chinese art education in the XX century.
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Valjakka, Minna. „Parodying Mao’s Image: Caricaturing in Contemporary Chinese Art“. Asian Studies, Nr. 1 (01.12.2011): 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 equivalent to political pop or that political pop represents pastiche—are oversimplifications of this complex phenomenon, especially when caricaturing is used as a method to violate the visual norms.
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Pranoto, Iwan, M. Agus Burhan und 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, Nr. 1 (22.06.2023): 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 documentation documents. In the process of collecting data, researchers will gather information from artists and other supporting data. The data needed is in accordance with the research questions and then tested by involving experts and artists. There are several findings that the artist Bong Lie Phin created works from 1989 to 2020 with the concept of Chinese mythology and interpreted Chinese cultural symbols. This is also supported by the exploration of materials and technologies that develop in making ceramics, but without reducing the value and meaning, it was found that there were financial support factors carried out by the management of these ceramic artists in influencing understanding. Work so that the presence of work continues. Occurs, the work is considered capable of providing transformation of spiritual values; another discussion is the community's contribution in providing understanding in the creation of ceramic art so that the process of reconstruction in the work occurs continuously.
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Bao, Hongwei. „The wedding complex: Chinese queer performance art as social activism“. Journal of Contemporary Chinese Art 10, Nr. 1 (01.08.2023): 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 Beijing, New Marriage, a documentary based on a same-sex wedding performance in central Beijing; queer feminist filmmaker He Xiaopei’s performance artwork and films; the Young Feminist Activist Group’s 2012 public performance Bloody Brides to protest domestic violence against women, and the queer artist duo Cheng Yumo and Huang Ziwei’s Grand Gay Wedding performance in Zurich in 2022 – this article demonstrates that the wedding format has been used by Chinese queer artists, performers and activists in creative, innovative and critical ways; it gives new meanings to traditional wedding practices and helps rethink how queerness can relate to established social institutions and conventions in a global context. This article extends existing scholarship on performance art in the 1980s and 1990s which was predominantly male-dominated, heteronormative and elitist avant-garde art practice; it also highlights the role of performance art in contemporary China’s feminist and LGBTQ+ social movements and in articulating gender and sexual politics.
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Xing, Nizhen. „Associations of Chinese Artists in the World and Promotion of Chinese Art Abroad“. Университетский научный журнал, Nr. 65 (2022): 163–72. http://dx.doi.org/10.25807/22225064_2021_65_163.
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Luo, Yun, Pengcheng Xiang und Bo Li. „Research on Sustainable Development Model of Chinese Artist Village“. Buildings 13, Nr. 1 (09.01.2023): 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 Artist Village and Beijing Songzhuang Artist Village. It has been found from studies that the development of Artist Villages in China has experienced initiation, development and maturity stages. The development of Artist Villages in China generally has many problems, such as an insufficient endogenous impetus, the excessive intervention of government, market capital “squeezing out” the original artists, and so on. This paper proposed a sustainable development model for Artist Villages during urbanization in China based on the findings and conclusions of this study. This study not only enriches research contents in this field, but can also provide meaningful references for the sustainable development of Artist Villages in China.
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Fong, Mary H., Marsha Weidner, Ellen Johnston Laing, Irving Yucheng Lo, Patricia Fister und Lucy Lim. „Views from Jade Terrace: Chinese Women Artists 1300-1912“. Woman's Art Journal 17, Nr. 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, Nr. 1 (27.02.2022): 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 (31.08.2015): 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, Nr. 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, Nr. 12 (Dezember 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, Nr. 2 (01.09.2019): 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 with? In the case of Chinese women artists, is it the legacy of literati? Classic ink painting and calligraphy? Or perhaps women's crafts that bear no name? Or perhaps a mixture of inspirations? Such questions about material heritage might also be augmented by others that consider aspects of the immaterial heritage of China. This article explores how Chinese women artists such as Chen Qingqing, Qin Yufen, Shi Hui, Wang Xiaohui, Cheng Caroline, Lin Tianmiao, Zhang Yanzi, Man Fung-yi, Liu Liyun, Peng Wei, Chen Lingyang, Chen Qiulin, Zhang Ou and Liu Ren refer to their cultural tradition.
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Sur, Heui-yeon. „A Study on the Art Strategy of Wenda Gu“. Korean Society of Calligraphy 41 (30.09.2022): 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 leading Chinese avant-garde writer, examined the significance of the 85 New Wave through analysis of his work as a person who participated in the 85 New Wave. The 85 New Wave is a kind of cultural movement in which young artists, including Wenda Gu, try to reform Chinese society and art through art, and this completely changed the trend of modern Chinese art.
In order to investigate Wenda Gu art strategy, he first visualized China's turbulent political and economic situation, and then went to the U.S. to grasp the characteristics of the expansion of the art world and internationalization factors that enabled artists to succeed. It can be seen that he incorporated elements of traditional Chinese culture into his works and actively utilized elements of literati culture in his works.
This study is meaningful because it aims to present another perspective on his work based on his attitude change using traditional Chinese cultural elements depending on his position in China and international art circles.
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Lu, Sa. „The role of the "plum blossom" in the development of traditional landscape painting in China“. Философия и культура, Nr. 7 (Juli 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 painting in the time interval from the VI century to the end of the XIV century — the most fruitful period of its formation and development. Plum blossom is of greater importance in the development of traditional landscape painting in China. For almost a millennium, the interpretation, compositional solution, as well as the technique of depicting this image have changed. The author's contribution to the development of the problem is a comprehensive analysis of images of plum blossoms in landscape paintings by Chinese artists of various historical eras, as well as the characteristics of the process of evolution and the features of the embodiment of this image. The paper traces the origins of this plot in the art works of Chinese artists, analyzes the processes of change and development of images, and characterizes the specifics of its external expression and internal content.
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Huang, Yuanpeng, und Galina Alekseeva. „The Image of the Yellow (Huang He) River in Chinese Painting“. Bulletin of Baikal State University 31, Nr. 4 (28.12.2021): 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 for the study of contemporary art is the historical and cultural and socio-cultural approaches. The methods of historical-comparative and sociological analysis of art, biographical and iconographic analysis, semiotics and hermeneutics methods are used. For the first time the features of oil painting in different regions along the Huang He River are presented: the geomorphological characteristics, national characters and folk customs in the river basin, and the cultural protection function of painting. The names of a number of Chinese artists have been introduced into Russian art history, and the panorama of the development of painting in the works of Chinese masters painting on the Huang He River has been shown. The works of these artists are correlated with the traditional art and religious ideas of the people living along the Huang He River: the role of created paintings in preserving the cultural code of the inhabitants through the portrayal of national costume, folk and religious holidays is traced. The results can serve as a basis for historical and comparative studies of the artworks of Chinese masters and become the basis for courses on the history of Chinese art.
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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, Nr. 23 (15.07.2022): 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 the colonialist enterprise that involved showcasing the art while obscuring the artist. Wang and Lu, in contrast, return attention to the skills of the Chinese artists. Through their own dual vision, they challenge myriad hierarchical colonial images of human-plant relations. Drawing on Vilém Flusser’s work on the gesture of video and combining this with Walter D. Mignolo’s discussion of decolonial gesture, I show how Wang and Lu question through their own artistic gestures the distortions of the colonial gaze evident within dominant western image regimes. In this, their work speaks indirectly to recent writings in the environmental humanities and critical plant studies that valorise more lateral relations between humans and plants.
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Yui, Wei. „Chinese Women’s Art“. Культура и искусство, Nr. 5 (Mai 2022): 86–95. http://dx.doi.org/10.7256/2454-0625.2022.5.38062.
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The article discusses the origin and evolution of women's visual art in China. The development of this artistic direction was due to the radical social transformations since the beginning of the Open Door Policy in 1978. Analysis of the art by Li Hong, Cui Xiuwen, Feng Jiali, Yuan Yaomin and others reveals main features of the evolution of women's creativity in China. The search and acquisition of female identity, the destruction of psychological barriers imposed by traditional ideas and stereotypes about a woman, her physicality, beauty, etc., the study of gender differences, the reflection of female subjectivity, the assertion of a new status for women in modern society - all this makes the content of Chinese women's art. The novelty of the research lies in the fact that the article studies the works of quite reputable Chinese artists who were not presented earlier in Russian art history science. This article is intended to contribute to the study of the processes of emancipation of the consciousness of the Chinese and raising the status of women artists in society. Reflections on personal experience, social problems and historical destinies determine the specifics of the artistic language of women's works. In view of the active feminist movements of our time, increasing attention to the inner world of women and criticism of patriarchal foundations, addressing this topic seems very relevant today.
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Yung, Danny, und 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, Nr. 3 (01.09.2023): 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 life. The author describes the central distinguishing features of Yung’s activity and its consecutive stages over the years, as well as the impact of his work on theatres in China and Taiwan. The appendix provides a transcript of Yung’s talk at the conference Contemporary Acting Techniques in Eurasian Theatre, Performance and Audiovisual Art: Intercultural and Intermedia Perspective (2021). The guiding idea of the lecture is the role of institutions in shaping theatre policy and connecting artists and ideas. Yung draws on examples from his own experience, describing the process of creating his most recent productions. He emphasizes the importance of collaboration and dialogue between artists, as well as the role of theatre institutions as major actors influencing the development of theatre art in contemporary Eurasia.
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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 (31.03.2023): 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, modern artists in China began to accept modern and contemporary Western art from the post-revolution period, and the 85 New Art Movement took place in the mid-1980s, led by young young artists. Artists who participated in the 85 New Wave, China's first modern art movement, organized and worked as an organization and indirectly encountered Western contemporary art and philosophy through books. Their activities contributed to the expansion of Chinese avant-garde art into the nationwide avant-garde movement. The movement contributed to hosting the Chinese Contemporary Art Exhibition in February 1989. Although the exhibition ended ostensibly in failure, the artists who participated in the planning and exhibition later went abroad to study or defect to promote China's visual culture and modern art. In particular, Gu Wenda, Wu Shanzhuan, and Xu Bing. who participated in the 85 new wave, earlier modified, reconstructed, and studied Chinese characters and calligraphy to build their own art world. The purpose of this study is not to honor or criticize the achievements of the three artists' current progressive works. Instead, by looking at examples of works at the beginning of Chinese avant-garde art in the 1980s, we have the opportunity to think about China's historical background and the role of writing art in China's reality in the 1980s.
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Bai, Shuai. „Research on the Teaching of Color Composition in Chinese Painting“. Общество: социология, психология, педагогика, Nr. 11 (29.11.2023): 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 composition is a way for artists to convey their ideas, emotions, moral and oth-er psychological feelings through color patterns and color combinations. At the same time, the use of color is subjective and emotional. In Chinese painting, artists tend to always focus on the atmosphere created by the tone of the painting, without the influence of the inherent color of the object itself. This paper will use the con-trast method to study color composition, allowing students to make full and reasonable use of the contrast be-tween the composition and color agreed upon so that the painting can enhance and emphasize the need for color effect. This paper attempts to study the basic.
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Lin, Jenny. „Old Is the New: Immersive Explorations in Another Beautiful Country—Moving Images by Chinese American Artists“. Arts 12, Nr. 6 (28.10.2023): 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 insights through recuperative engagements with what has come before. In analyzing artworks by Fung and Chang, I also reference related texts by/about artists and historical figures including Walter Benjamin, Anna May Wong, and Zhang Ailing, who emigrated from the People’s Republic of China to the United States in the 1950s and whose special collections in the USC Libraries helped inform the exhibition’s programming. I also interweave my own related familial histories and share some (not-so-new) curatorial ideas for immersing audiences in intercultural art and reflection.