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Добірка наукової літератури з теми "Chinese artists, 20th century"

Автор: Grafiati

Опубліковано: 4 червня 2021

Оновлено: 20 лютого 2023

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Статті в журналах з теми "Chinese artists, 20th century"

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

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

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Анотація:

The purpose of the article is to reveal the impressionistic trends in the fine arts of China, determining the originality of the Chinese oil painting development of the 20th century. Methodology. Historical and cultural, comparative, iconographic and iconological methods are used in the study. Results. The study examines the underinvestigated aspects of Chinese painting development in the first half of the 20th century. The retrospective analysis of the pictural art enables tracing the traditions and innovations in the formation of oil painting in China, which prevails at this historical stage of the national art school development. The desire of Chinese artists to preserve the philosophical foundation and theoretical principles of classical ink painting, and at the same time an interest in Impressionism, have become a peculiar feature of Chinese oil painting. The main trends, dominating at the beginning of the century, persist to this day, defining the development of Chinese oil painting in general. It is determined that the decorativeness and thematic repertoire of classical Chinese ink art has been transferred to oil painting, as evidenced by the booming exhibition activities. The study determined that in the first half of the 20th century, the impressionistic trend was spread in the country, which resulted from the study of Japanese and French masters by Chinese masters. The teaching methods and stylistic searches of Chinese artists of the period under study became the foundation of contemporary Chinese art. The latest trends in Chinese oil painting in the first half of the 20th century are: an artistic rethinking, reminiscences of a similar phenomenon in Western European painting of the late XIX – early XX century. The spread of impressionism contributed to the greatest development of still life and landscape genres, and also brought plein air practice to a new level. Many Chinese artists spread impressionistic ideas not only in artistic creation, but also in art history. The scientific novelty lies in the systematization and factual material analysis on this problem, determining the role of the impressionist trend in the Chinese oil painting development. Practical significance. The results of the study can be used in further studies of the history and theory of Oriental art of the 20th century.

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

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The article discusses the features of interaction and mutual influence of the art of woodcut of China and the USSR. Chinese woodcut and Soviet engraving reveal the greatest mutual influence and rich genre palette in the middle of the XX century. Chinese woodcut gave a creative impulse, enriched the visual possibilities, brought new ideas to the Soviet art of woodcut. It served as an impetus for the rise of graphics, which realized and asserted its specificity. In this regard, it seems relevant to identify common features of Chinese woodcut and Soviet engraving of the mid-20th century, as well as to identify differences in the development of this art form in the two countries. The article analyzes the works of famous woodcuts of two countries: Chen Yanqiao, Yang Han, Qi Baishi, V. A. Favorsky, A. A. Ushin. As a result of the analysis, the common features of Chinese woodcut and Soviet engraving of the mid-20th century were revealed, for example, similar plots and themes, as well as a special dynamic, lively and pulsating rhythm of the works. In addition, differences in the development of this type of art in both countries have been established, largely due to the preservation of their own national style by graphic artists. It is claimed that Soviet graphics contributed to the variety of Chinese woodcuts. In turn, Soviet artists adopted the subtleties of filigree technique from Chinese woodcuts.

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

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В статье исследуется влияние западноевропейского искусства на китайскую живопись, которое шло через опыт японских художников и обучение в Японии китайских мастеров. Роль японской культуры в освоении китайским искусством западноевропейских традиций до сих пор остается недооцененной, часто исследователи не упоминают о связях с Японией, обращаясь сразу к периоду обучения китайских художников в европейских странах, прежде всего во Франции, который был по времени позднее. Однако именно мастера Страны восходящего солнца в конце XIX - начале XX века серьезно повлияли на формирование нового «европейского» языка изобразительного искусства Китая. The article examines the influence of Western European art on Chinese painting, which went through the experience of Japanese artists and training of Chinese masters in Japan. The role of Japanese culture in mastering the Western European traditions in Chinese art is still underestimated, and often researchers do not mention the ties with Japan, referring directly to the period of training of Chinese artists in European countries, primarily in France, which was later in time. However, it was the Japanese masters in the late 19th and early 20th centuries that seriously influenced the formation of the new «European» visual language of China.

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

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Research in the field of cross-cultural communications in the context of modern globalization processes is becoming particularly relevant. Each specific case in cross-cultural interaction has a set of specific features that require detailed study. The article discusses the features of Russian-Chinese cross-cultural communication in the field of fine art, which have been especially pronounced since the second half of the 20th century and until now. The analysis of generally accepted types of communication made it possible to show specific forms of interaction between Russia and China.There is demonstrated that these features are largely related to the fact that the process of cross-cultural interaction occurs not only at the level of communication between representatives of the two peoples, but also in the process of artistic and stylistic exchange at the level of art works perception. Thus, cross-cultural communication refers to the process of information exchange at different levels. Russian-Chinese communication features include the intrapersonal perception of Russian art, style and genre features of the Russian realistic school, that influenced the style of Chinese artists; the interaction between individual artists and students, the unique contacts between a teacher-master and a student studying individually in the art studio. In the period under review, the communications were often unilateral — Chinese students and artists adopting the traditions of the Russian realistic school of painting, both by inviting Russian artists to China and studying in Russia. The specificity is also shown in the interaction between professional creative unions of artists, joint holding of exhibitions, and organization of plein-airs, during which a multi-level exchange of cultures can happen.

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Xiaotao, Li, and Yan Qing. "The influence of the Itinerants' creative ideas on Chinese realistic painting." World of Russian-speaking countries 2, no. 8 (2021): 87–104. http://dx.doi.org/10.20323/2658-7866-2021-2-8-87-104.

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

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

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

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

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In the article author follows a view that although rational thinking can be found in all literate societies around the globe, differences between cultures develop to a certain degree also from basic distinctions between philosophical ways of thinking. In this sense, the Yijing, or The Book of Changes, classical text not only characterizes the basic mode of Chinese philosophical thinking, but also influences past and present Chinese culture. The Yijing, however, did not only influence Chinese contexts, but from the 18th century on, its impact was felt also in the West. To Jesuit translators, Leibniz and C. G. Jung, and even to 20th century physicists, artists or musicians, this ancient text had always something relevant to say. The more so in times of crisis, when it became evident that it is better to escape one’s own culture and to look for answers elsewhere; in a wholly different tradition. It seems, however, that the reception of the Yijing in the West went full circle; from being an exotic and mystical text from an unknown and foreign practice, to an important corrective of a Western tradition that found itself in crisis during the twentieth century, to the global culture industry.

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Yang, Guangyu. "temporal spirit, expressiveness and nationality of contemporary Chinese painting." Linguistics and Culture Review 5, S2 (July 31, 2021): 472–86. http://dx.doi.org/10.21744/lingcure.v5ns2.1384.

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

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Дисертації з теми "Chinese artists, 20th century"

Chiu, Melissa, University of Western Sydney, of Arts Education and Social Sciences College, and Centre for Cultural Research. "Transexperience and Chinese experimental art, 1990-2000." THESIS_CAESS_CCR_Chiu_M.xml, 2003. http://handle.uws.edu.au:8081/1959.7/677.

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This dissertation focuses on Chinese artists who migrated to the West (Australia, the United States, and France )during the late eighties and early nineties. Throughout the thesis, it is argued that transexperience encourages a more fluid perception of the relationship to the homeland, not only positing it in the past but also in the present. The structure of the dissertation, devised in terms of locations, is relevant to the author's argument that the site of settlement is a significant determinant in the development of artistic expressions of overseas Chinese artists. A brief conclusion explores some of the most recent developments in the relationship between overseas Chinese artists and their homeland as seen in more frequent travel back, the exhibition of their work (which would have been impossible only a few years ago), and official invitations to represent China in international exhibitions.
Doctor of Philosophy (PhD)

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Chan, Flora Kay, та 陳鳳姬. "呂壽琨的藝術發展". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1991. http://hub.hku.hk/bib/B1300587X.

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Chiu, Melissa. "Transexperience and Chinese experimental art, 1990-2000." Thesis, View thesis, 2003. http://handle.uws.edu.au:8081/1959.7/677.

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Lewis, Joanne Rebecca. "Women artists in Botswana in the late 20th century." Thesis, SOAS, University of London, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.525246.

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Women have always played a large part in the visual arts throughout Africa. In Botswana at the present time this is illustrated most immediately by the woven baskets, seen everywhere, in galleries, shops and at roadside stalls, that have come to represent the country and its arts and crafts; and with the odd exception they are all made by women in the most rural areas. However, women in Botswana currently practice other arts, including house decoration and pottery, although, for a variety of reasons, these are less immediately obvious. In contrast to these practices, representing traditions inherited from the past, there are others of relatively recent inception. Since the 1980s Botswana has seen the emergence of a small number of women ‘Fine’ artists, some of whom are Botswana nationals while others are expatriates settled in the country. In contrast to arts made for immediate local use, or sold in roadside stalls, the work of these artists is exhibited in the few art galleries that now exist. During the same period, art education has also been gradually introduced into the school and university system in Botswana. Art galleries both private and public are another recent development, beginning with the National Museums and Monuments Art Gallery, which opened in 1978, and which began to facilitate local exhibitions of Botswana art, while also encouraging exhibitions of this material in other countries. In addition to local tradition and an emerging Fine Art practice, art education, museums and galleries, a series of workshops has also been developed. Some of these were set up by expatriates on a more-or-less permanent basis with the aim of training women in various art forms, while others are temporary and artist-led, giving selected groups of artists the chance to meet, work and exchange ideas. I begin this thesis, therefore, with a survey of all the arts inherited from the past, and currently practised by women in Botswana, and then, in a series of chapters I look at each of the developments, including art education, museums and galleries, and workshops; and their histories, their aims, and their achievements with particular regard to the overall development of the arts in Botswana. This thesis thereby provides a comprehensive study of all the arts practised by women in Botswana through the last thirty years.

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Kiss-Davies, Adriana. "The exile experience : Hungarian and Czech Cold War refugee artists in Britain." Thesis, Aberystwyth University, 2011. http://hdl.handle.net/2160/f372a97d-f457-4ac0-b92c-99f577d46260.

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This study is an investigation of the life and work of émigré artists who arrived in Great Britain as refugees after the 1956 revolution in Hungary and after the crushing of the Prague Spring in 1968. The artists selected for examination represent different aspects of cultural production and range from painters through graphic artists and designers to film-makers. The work of these artists is discussed in the wider cultural, social and political context of Cold War Europe. The human aspect, that is, the way in which exile affected individual artists and their lives and altered their perception and artistic output, is a central thread of the thesis. Other key issues that are considered include: the relationship between art and politics, exile and identity, cultural exchange and issues of communication with a foreign audience. The main argument is based on the analysis of selected artworks created in exile and the thesis is structured around eight case studies which explore specific aspects of the uprooted experience in the context of artistic creativity in exile. The major themes which the case studies focus on are: questions of identity and loss in the films of Robert Vas, the feeling of dislocation and alienation in György Gordon’s self portraits, the problems of artistic acceptance in the context of the career of cartoonist Edma, the transposition of Hungarian landscape painting traditions into English art by Gyula Sajo, the origins and artistic benefits of Josef Koudelka’s wandering existence, forms of Czech Functionalism in Eva Jiricna’s architectural designs, nostalgia and memory in the paintings of Jiri Borsky and Jan Mladovsky’s conceptual explorations of Eastern and Western cultural identities. The case studies are used to identify common artistic, philosophical and theoretical threads which connect the visual responses of the examined artists to the wider subject of art in exile.

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霍少霞 and Siu-har Silvia Fok. "The development of the stars (Xingxing) artists, 1979-2000." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2002. http://hub.hku.hk/bib/B31225986.

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The Best MPhil Thesis in the Faculties of Architecture, Arts, Business& Economics, Education, Law and Social Sciences (University of HongKong), Li Ka Shing Prize
published_or_final_version
Fine Arts
Master
Master of Philosophy

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Frantz, Susanne K. "ARTISTS AND GLASS: A HISTORY OF INTERNATIONAL STUDIO GLASS (SCULPTURE)." Thesis, The University of Arizona, 1987. http://hdl.handle.net/10150/291668.

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Wei, Linna, and Xichan Zhao. "Investment Study on Christie’ Chinese 20th Century Art." Thesis, Högskolan i Jönköping, Internationella Handelshögskolan, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:hj:diva-13812.

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This thesis focuses on the blooming market of Chinese 20th Century Art. The study object is one category of Christie’s Auction house, Chinese 20th Century Art, before 2009. Eight artists’ auction results are selected to the dataset for the research. We find that the previous researches based on the collection of Western arts cannot explain the whole situation of Chinese 20th Century Art. It has speculative character as an invest option in global art market. And some factors would affect the price changing in the auction activities. The Capital Asset Pricing Model is applied to study the investment condition of Chinese 20th Century Art as a capital asset. The result we get from our dataset presents that Chinese 20th Century Art is with high risks and high returns, which is quite different from the previous studies based on Western Artworks. Regression analysis reveals that some factors do affect the rate of price changes. We find that young Chinese artists who born after 1950 achieve better sale results than older ones. Their artworks are always sold on high realized prices. In addition, the high price sale more often happened in the auction house of Hong Kong and the market of Chinese 20th Century Art is enlarging these years. The rate of price change is increasing by the sale year growing. The prices of the artworks are growing higher and higher recently. However, the findings above just explain parts of the price increasing. All the reasons for the price increasing are not clear in this thesis.

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Rattalino, Elisabetta. "The seasons in the city : artists and rural worlds in the era of Calvino and Pasolini." Thesis, University of St Andrews, 2018. http://hdl.handle.net/10023/15588.

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The Seasons in the City. Artists and Rural Worlds in the Era of Calvino and Pasolini explores rurality in postwar Italy. Between 1958 and 1963, the country underwent an unprecedented yet uneven industrialisation, a period known as the Economic Miracle. Drawing on a relational and dynamic understanding of rural space provided by human geography, this thesis investigates the impact of these economic and socio-cultural transformations on the countryside, and on the ways in which the rural world was perceived and conceptualised in the following decades, especially by contemporary artists and intellectuals. Works of Gianfranco Baruchello, Claudio Costa, Piero Gilardi, Maria Lai, Ugo La Pietra, Antonio Paradiso, Pino Pascali, Giuseppe Penone, and Superstudio have been selected and analysed for the complex views on the topography of the country they convey, whilst challenging more conventional forms of art. Organised in themed chapters that find resonance in the contemporary works of two iconic Italian intellectuals, Italo Calvino and Pier Paolo Pasolini, these artistic practices manifest the ways in which Marxist theory and anthropology contributed to artists' identification of rural landscapes and communities at the time. More importantly, this thesis offers an alternative geographical perspective on 1970s Italian art, one that challenges the pastoral myths that were constructed in the country's metropolitan centres.

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Ouyang, Yiwen. "Westernisation, ideology and national identity in 20th-century Chinese music." Thesis, Royal Holloway, University of London, 2012. http://repository.royalholloway.ac.uk/items/8f19c444-ee12-c022-d86c-879118683355/7/.

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The twentieth century saw the spread of Western art music across the world as Western ideology and values acquired increasing dominance in the global order. How did this process occur in China, what complexities does it display and what are its distinctive features? This thesis aims to provide a detailed and coherent understanding of the Westernisation of Chinese music in the 20th century, focusing on the ever-changing relationship between music and social ideology and the rise and evolution of national identity as expressed in music. This thesis views these issues through three crucial stages: the early period of the 20th century which witnessed the transition of Chinese society from an empire to a republic and included China's early modernisation; the era from the 1930s to 1940s comprising the Japanese intrusion and the rising of the Communist power; and the decades of economic and social reform from 1978 onwards. The thesis intertwines the concrete analysis of particular pieces of music with social context and demonstrates previously overlooked relationships between these stages. It also seeks to illustrate in the context of the appropriation of Western art music how certain concepts acquired new meanings in their translation from the European to the Chinese context, for example modernity, Marxism, colonialism, nationalism, tradition, liberalism, and so on.

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Книги з теми "Chinese artists, 20th century"

Art and artists of twentieth-century China. Berkeley: University of California Press, 1996.

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Chinese artists: New media, 1990-2010. Atglen, PA: Schiffer, 2010.

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Brown, Claudia. Ancient China--modern clay: Chinese influences on five ceramic artists. Phoenix: Phoenix Art Museum, 1994.

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Yuwen, Deng, ed. Zhongguo wen hua ren ying lu. Xianggang: San lian shu dian Xianggang fen dian, 1986.

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20 shi ji Hua ren she ying jing dian zuo pin: Best photos of the 20th century by Chinese across the world. Beijing: Zhongguo she ying chu ban she, 2005.

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Guangming, Fu, ed. Gu yun: Ling Shuhua de wen yu hua. Jinan: Shandong hua bao chu ban she, 2003.

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Guangming, Fu, ed. Gu yun: Ancient melodies. Taibei Shi: Ye qiang chu ban she, 1991.

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Kuguasanren zi zhuan. Beijing: Zhongguo hua qiao chu ban she, 1994.

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Guangming, Fu, ed. Gu yun. Beijing: Zhongguo Hua qiao chu ban she, 1994.

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Ai, Weiwei. Ai Weiwei: Disposition. Edited by Bortolotti Maurizio 1961-, Ward Ossian, Zitelle (Venice Italy), and Sant'Antonin (Church : Venice, Italy). London: Koenig Books, 2014.

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Частини книг з теми "Chinese artists, 20th century"

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

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

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

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

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

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

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

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

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

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

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Тези доповідей конференцій з теми "Chinese artists, 20th century"

Li, Yijin. "SPIRITUAL COMMUNICATION ACROSS TIME AND SPACE — ON THE SUCCESS OF LIAOZHAI STUDY BY V. M. ALEXEYEV." In 9th International Conference ISSUES OF FAR EASTERN LITERATURES. St. Petersburg State University, 2021. http://dx.doi.org/10.21638/11701/9785288062049.02.

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Russian sinologist V. M. Alexeyev translated and studied Liaozhai according to the new “artistic requirements” in the Soviet era, that is: 1) the requirement to introduce the real Chinese language and art works to the Russian and Soviet people and show his translation talent; 2) the requirement to adapt to the historical culture and aesthetic psychology of the Russian nation and meet the needs of the Russian people; 3) the requirement to conform to the popular social trend of thought among Russian humanistic intellectuals at the turn of the 19th–20th century, and to introduce Oriental wisdom; 4) the requirement to communicate with Pu Songling, an ancient Chinese writer who has common ground in life experience and social ideal, and to express his inner feelings and resonance. Alexeyev’s spiritual communication with Pu Songling is not only the impetus of his whole life to study Liaozhai, but also the secret of his great success in Liaozhai study.

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Gamble, Susan, and Michael M. Wenyon. "17th-century optics in 20th-century art: artists working in Britain's oldest scientific institution." In OE/LASE '90, 14-19 Jan., Los Angeles, CA, edited by Stephen A. Benton. SPIE, 1990. http://dx.doi.org/10.1117/12.17978.

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Bulycheva, E. "“MYTHOLOGICAL” AND “POETIC”: ON THE PROBLEM OF MYTHOPOETICS IN THE FINE ARTS OF THE 20TH CENTURY." In Aesthetics and Hermeneutics. LCC MAKS Press, 2022. http://dx.doi.org/10.29003/m2563.978-5-317-06726-7/134-137.

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The multidimensionality of the visual arts of the twentieth century due to the radicalism of manifestations can be studied more reliably through the current field of interdisciplinary approaches including the analytics of mythopoetics. As a theoretical model for studying the mythopoetic work basis appears tobe a point of intersection of related cultural codes. Fine art while relying on the structural units of myth does not copy them directly,but translates them into the language of plastic images and enriches them with its specific stable elements. In this context they are equivalent tothe elements of the structure of the myth. The “poetic” in the free flight of imagination plays with the metaphorical nature of images tearing them away from reality. The “mythological” for all the whimsical and metaphorical images is experienced and perceived by the subject as an absolute reliable reality. The main feature of the mythopoetics of the visual arts of the 20th century is that the range of this interaction in the allegorical nature of images predetermines the variability and plurality of mythopoetic models that are used by artists.

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Melekhova, K., L. Nekhvyadovich, E. Lichman, and A. Mombek. "Traditions of Russian Pedagogy of Arts in the Formation of the Creative Method for Artists in Mongolia in the 20th Century." In International Scientific and Practical Conference on Education, Health and Human Wellbeing (ICEDER 2019). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/iceder-19.2020.16.

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

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

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

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

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It is difficult not to mention language reform when referring to Chinese literature modernization between the end of the 19th century and the beginning of the 20th century. Language played a critical role in facilitating the escape of Chinese literature from Chinese medieval literary works in order to integrate into world literature. The language reform not only laid a foundation for modern literature but also contributed considerably to the grand social transformation of China in the early days of the 20th century. Chinese new-born literature was a literature created by spoken language; in Chinese terms, it was considered as a literature focusing on “dialectal speech” instead of “classical Chinese” used in the past. In international terms, it can be named as living language literature which was used to replace classic literary language in ancient books – a kind of dead language. This article will analyze how language reform impacted Chinese modern literature at the beginning of the 20th century.

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Sheng, Yinghong, and Xiaowen Lin. "The Aesthetic Embodiment of Modernity in Chinese Literature in the 20th Century." In 8th International Conference on Education, Language, Art and Inter-cultural Communication (ICELAIC 2021). Paris, France: Atlantis Press, 2022. http://dx.doi.org/10.2991/assehr.k.220306.052.

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Zhou, Ya. "COLOR NAMING IN RUSSIAN AND CHINESE POETRY (BASED ON 20TH CENTURY POETIC TEXTS)." In ACTUAL PROBLEMS OF LINGUISTICS AND LITERARY STUDIES. Publishing House of Tomsk State University, 2020. http://dx.doi.org/10.17223/978-5-94621-901-3-2020-38.

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