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Home , History of painting, Western painting

LITHUANIAN UNIVERSITY OF EDUCATIONAL SCIENCES FACULTY OF EDUCATION DEPARTMENT OF FINE

RuXuan Nie

THE WEST AND THE EAST

VISUAL ARTS STUDY PROGRAM FINAL WORK

LEADING PROFESSOR Prof. Ričardas Bartkevičius REVIEWER Asist. Rokas Dovydėnas CHIEF OF DEPARTEMENT Doc. Giedrė Riškutė

Vilnius 2016 CONTENTS

CONTENTS...... 2 INTRODUCTION...... 3 1. THE DIFFERENCE BETWEEN CHINESE AND WESTERN TRADITIONAL ...... 5 2. THE CONTEMPORARY OF CHINA...... 10 3. CHARACTERISTICS OF WESTERN ...... 20 4. DISCUSSION BETWEEN CHINESE AND …………………26 5. THE WORK OF “BLOOMING” PROJECT………………………………………...…29 5.1. Seeking for idea and works of solution………………………………………….....33 5.2. Final works…...…………………………………………..………...………………40 CONCLUSIONS…………………………………………………………………………..42 SUMMARY...... 43 REFERENCE...... 44 FINAL WORKS...... 45

2 INTRODUCTION

Under the continuous improvement and development of the world, the relationship of national art is increasingly interconnected. There are two different ways of painting in the West and the East. Each of them have their own characteristics and charm. They are both interlinked but mutually reinforcing separation, because of their different ethnic elements. We need to retain characteristic elements on the basis of Chinese and Western painting together to be able to better interpret and develop art. has always been focused on subjective performance, object shape and verve. Western art pursues objective expression and modelling of shape. I have cleverly combined both to complement each other. With a combination of spiritual and a more realistic approach combining Western and Eastern techniques I present my work. Eastern and Western art is not separated, we can take a combination of strengths to develop a healthier and more active arts system. Of course, the combination of Chinese and Western arts systems is not just integrating painting techniques, it is better defined as a sharing of cultures, learning from each other and expressing different thoughts. Only in doing so we can achieve a better connection between the East and the West (Liwen, 1998). Both the West and the East can get positive benefits from doing so: a willingness to take each other's strengths and some representative artistic elements and creative ideas, this combination has an important role in each other's development. Using traditional Chinese painting techniques with pen and ink, and Western colors and expression in combination and learning from each other at the same time we learn their connotations and spatial awareness. If we use only Western techniques we lose a lot of the charm we can gain from Chinese painting styles. Similarly if use purely Chinese techniques Western art become washed out and boring (Bomin, 2009). If we combine both techniques without prejudice we can create a new artistic style with more expression and . The idea of the project is the combination of Eastern and Western art: traditional Chinese painting in the appeal together with the unique combination of flexibility in European modern art, using Chinese ink - an enjoyable way to express painting to create a

3 new field (Chuanxi, 2009). The aim of my project is to combine Chinese and Western painting principles. To accomplish this goal, we need to tackle the following tasks: •Explore the situation in traditional Western and Chinese painting. •Explore modern Chinese and Western painting. •Create the painting cycle “blooming”, using the principles of Western and Eastern painting to express my emotions.

4 1. THE DIFFERENCE BETWEEN CHINESE AND WESTERN TRADITIONAL PAINTING

Different countries have different religious beliefs and ethics. This led to differences of aesthetic consciousness and differences between Chinese and Western cultures, which were also reflected in their historical development and geographical differences. Different painting styles and painting materials formed different schools of art which naturally produced the Western and Eastern featured. (Picture 1.1.) (Picture 1.2.)

Picture 1.1. Ying Qiu. Han gong chun xiao tu Picture 1.2. Raffaello Santi. Sistine Madonna Emotions are manifested in traditional Chinese painting and construction, it is not a realistic of , neither it is a concrete form of an object nor a completely Western-style abstract painting, but it’s a kind of feeling. Traditional object-oriented of Western painting techniques, based on the and values to show the volume of the object, quality and the sense of space, light and require different environments rendering of objects of different color effects, which is different to traditional Chinese painting. (Picture 1.3.) (Picture 1.4.)

Picture 1.3. Zhanghong Song. xia xian hua tu Picture 1.4. . The last

5 The art form of traditional Chinese painting in the world occupies a very important place in the , because it represents a unique aesthetic conception of Oriental peoples. In China's case, different regions have their own habits and national characteristics, of course, differences were formed. This type of rendering is not affected by optical limit of proportion and perspective, but a more subtle use of these factors, bold things, rich imagination, beyond reproduction of the thing itself, and thus more into the subjective consciousness, more to express painting, to show real emotion, expression and inner (Chuanxi, 2009). Chinese traditional culture's way of thinking is that there is unity of heaven and man: it refers to the world as it was made up of heaven and Earth, and man, three aspects of the composition, and people are part of nature, which can be seen as more emphasis is put on nature of Chinese culture, this culture manifests itself in the form of painting people and nature, the relationship between and matter (Chuanxi, 2009). Chinese painting have always been more focused on painting of feelings expressed, which focus on the subjective expression, and do not put too much emphasis on objective reality, in the creation are freer. Typically outlines of the shape, line and color are single, except that the different manifestations dry and wet, express this feeling through associations. (Picture 1.5.) (Picture 1.6.)

Picture 1.5. Guoxi Zao. Chun Tu Picture 1.6. Yan Tang. Qiu Feng Zhi Shan Tu

6 Shi Tao of Chinese painting, he used emotions to paint the landscape, flowers and birds or even . His means of expression are all fine and innovative. We can see his natural and unrestrained personality and unique artistry from his work. With layered painting scenery, lush trees, rigid-flexible decisive strokes. Criss-crossing the mountains, delicate trace of hard yet flexible and his use of objects seems to be unmatched. from life, a love to live, therefore, the synchronization of the subjective and objective, is the typical characteristics of the art of Chinese painting. (Picture 1.7.) (Picture 1.8.)

Picture 1.7. Shi Tao. Yun Shan Qiu Xiao Tu Picture 1.8. Shi Tao. Yun Shan Tu Qichang Dong：his charm is not only in his paintings of beautiful, “The North-South " but also in the theory of influence he acted, despite the political storm during the times still filled with three dynasties, through the up and down of an official career, although success in his painting career is rare. (Picture 1.9.)

Picture 1.9. Qichang Dong. Guan Shan Xue Ji Tu

Division of Western traditional painting is from the birth of as the

7 dividing line, prior to the where traditional painting was prominent. Painting system of this period can be divided into these schools: , ancient Roman painting, medieval painting, painting. These different periods have different cultural features, but has a strong religious overtones. Different periods of formation and development of art is related to its social, historical, ethnic and natural conditions. The following are the characteristics of art in three periods. The art of ancient Roman painting: this period is characterized by nature and divinity the perfect combination, strongly showing the concept of equality of man and God. Greece’s beautiful natural environment, open social structure, the worship of gods and rich cultural life. Greek people are of clear reason, and rich emotion. Throughout Greece national art man and nature, emotion and reason, reality and dream are in a State of and equality between man and God, and God is Greece’s essential spirit of art. (Picture 1.10.) (Picture 1.11.) In , the Roman people took to Greek culture and its reference in the development of their own cultural structure and intension, achieve the perfect unity of the people of God. (http://wenku.baidu.com/view/820de7b169dc5022aaea00fd.html).

Picture 1.10. Ancient Greece Picture 1.11. Ancient Greece fresco

Art features strong religious complex of medieval painting, exclusively for religious services, which became a of advancement of religion illustrates. The meaning of Painting have a strong symbolicism. In order to expound its creed and express strong religious beliefs and emotions, painting with exaggeration, distortion and symbolic

8 expression of spiritual truth. Under Christian rule during the medieval painting the western feudal society, theocracy is the Supreme social reality. (http://wenku.baidu.com/view/820de7b169dc5022aaea00fd.html) (Picture 1.12.) (Picture 1.13.)

Picture 1.12. . Mona Lisa Picture 1.13. Leonardo Da Vinci. the Last Supper

Painting of the Renaissance period to the 19th century: during this period the divine aura is no longer almighty, return of human nature becomes inevitable. Painting subjects from God to man expression dominated by realism. ( Picture 1.12.) (Picture 1.13.) Features of Western painting are focused on color and light, shading on the shape of the object, this painting forms the biggest difference with China. Western painting and creation of Chinese traditional painting methods is also reflected in the object is not a simple rendering with lines, but use different color and light to express, as we see things, the richness of color can fully express the authenticity of an object. This difference of light and shade, spatial sense of shape and light visual effects, Western painting is the pursuit of cold, depth, thickness of diversity, such as painting and . As a whole application of this art also the pursuit of and ideal expression.

9 2. THE CONTEMPORARY ERA ART OF CHINA

Human society entering the 21st century, in the process of , different countries, different ethnic groups and different cultures in artistic creation, artists greatly influenced by traditional culture function and influence showed itself with strong regional characteristics, but also in the background of international cultural interactions among . Therefore, excellent works of art are based on deep cultural traditions and reflected in the age of our cultural identity, as as the innovations of ’s individual unique artistic language. In the context of globalization of the international, the contemporary society with the increasingly frequent exchanges and immigrants, many artists engaged in the artistic creation. Chinese contemporary art should be included in the inland artists and overseas Chinese artists and artistic creation. Since the 80's of last century Chinese artist's creation have been gradually differentiating and developing based on the city of origin of the artists and artists living abroad, those who have been part of overseas Chinese artists have been integrated into the mainstream of Western art force, their artistic language as well as in Western mainstream discourse on the topic category. Their artistry pays more attention to culture conflict and power, particularly on cultural power struggles. ( Picture 2.1.) ( Picture 2.2.)

Picture 2.1. Fanzhi Zeng. Walked into the Louvre Picture 2.2. Fanzhi Zeng. Wuti

Jianzhong Liu: he traveled to many parts of the , West Asia, Central Asia, he is perceived as a traveler, and composer of these civilizations at the most basic of those

10 people and their lives together, learning their language, their life, the taste of their art, on the farm, in the tea shop, in the market, looking for those who have not changed the flavor. He portrays vivid characters with a brush face, scenes of a vivid life and scenes of memorable moments in history. Most of his works are thoughts flowing and traveling on the canvas, which created the humanity of his Painting.

Jianzhong Liu painter of the former Soviet Union learned from college, later dabbled in , , and so on, he embraced learning and absorbing the of attitude, but he never changed his realistic way. Therefore, Expressionism, art popular nowadays, some painters did not budge, stuck to their beliefs, and indeed produced art that is impressive, awesome(http://artist.artron.net/20150525/n744527.html). (Picture 2.3.) (Picture 2.4.)

Picture 2.3. Jianzhong Liu. Wind blowing through God’s chimneys Picture 2.4. Jianzhong Liu. disciple

Wind blowing through God’s chimneys (Picture 2.3.)，Luke portrayed in the grounds of the picture area at Turkey Central, which enjoys the reputation of the eighth natural wonder of the world, mother nature cast as the landforms here in Wonderland, in the Sun, volcanic rock surges down, colors changing, painted on his canvas.

He was in a foreign country, decent room displaying a family’s oil painted portraits of family members, this is one way of expressing love, affection. Jianzhong Liu creation

11 abroad of the Siblings (Picture 2.5.), Sister and brother of Uzbekistan for a moment frozen on the canvas, moved many audiences. It show’s Isabel family as is typical of the Uzbek nomadic customs of the still keep their hands showing. As a stronghold of Uzbek ancient Road, is for people in a strange and distant land, However, it is the convergence of Eastern and Western cultures "Dak", little brother innocent smile the Uzbekistan national interpretation of the simple and honest kind.

Picture 2.5. Jianzhong Liu. Siblings

On the other hand, because of China's growing diplomatic opening and cultural dissemination and information exchange developments, China's mainland artists are differentiated into traditional Chinese painting, school of painting and the new media type and material (behaviors, ideas, installations, multimedia), all kinds of artistic awareness and understanding of the concept is seen: more different and more diversified. From the perspective of the relationship between art and society-sponsored, art display, channel, plan, sponsored by diversification of the sources of today's is also showing a wide range of ecology. Overseas Chinese artists of the international cultural context and, therefore, in every contact and more extensive, in-depth arts, as well as the social, political, economic, ethnic, historical and cultural themes and problems of the power struggle.

China's history and reality, Chinese contemporary art for the first to emphasize the modernity of China, China Development and change during the past century, while also in between tradition and modernity, globalization and localization, international

12 and national conflict and blend between times. How to deal with Chinese traditional culture and modern coincides with the postmodern contemporary art must be, China is concerned about problems and characteristics. Contemporary China with pre-modern society, modern and postmodern State of society mingled. China's sustained and rapid economic development and social change of contemporary Chinese art must concern Chinese society and culture issues. As humanity and values issues, environment and ecology, survival and rights issues, national and regional issues, and so on. Today, Art is not only the material and style of language level, but even more important are cultural values and social consciousness.

Shaobin Yang paintings always bloody taste, background with red or yellow, showing only the outline of the characters, and his Chinese ink spilled like SUMI way, makes people miss that the form and content of a combination of age, also look forward to once again that day(http://yangshaobin.artron.net/). (Picture 2.6.) (Picture 2.7.)

Picture 2.6. Shaobin Yang. no title Picture 2.7. Shaobin Yang. no title

Lijun Fang: can say that he is the experience of collectivism, collectivism in particular "light, bright red," and the Grand, ideal thing again in a new schema. But he also put the collectivism of the positive and negative, are presented from different angles, in a collective personality slowly fade away, fade in an ideal environment. (Picture2.8.) (Picture 2.9.)

13 Picture 2.8. LIjun Fang. NO.12 Picture 2.9. Lijun Fang. Throw egg against rock

Also some pictures of the whole world, becomes a part of the biological world, the paintings revealed a darker back under the Sun. His description of this collective experience, while our memory of this era, from the tone and atmosphere as a whole, but also lots of hidden violence here suggest. There is the repression of one's self. In summary, I think his work reflects a particularly strong sense of historical artists. (Picture 2.10.) ( Picture 2.11.)

Picture 2.10. Lijun Fang. Ink-water painting Picture 2.11. Lijun Fang. No.13

Qidong Wang：leader of contemporary Chinese realism , determined the road of realistic painting. His works have a common basic goal: looking for national characteristics. His painting style is bold publicity, the nitty-gritty of exquisite Western classical painting techniques and aesthetic integration of Chinese culture, successfully reproducing its own unique artistic style. His fine rigorous work style, the shape of the lines distinct, form accurate and good characters rich and complex inner world, to the ancient pretty smart and

14 dignified charm exciting (https://www.douban.com/note/78479088/). (Picture 2.12.) ( Picture 2.13.)

Picture 2.12. Qidong Wang. Green Shoots Picture 2.13. Qidong Wang. Spring breeze

His of the classical masters eclectic, blending the art of traditional Chinese culture, interests in the basic techniques of oil painting creation and work combined, Gold, white, black and red, some contrast and penetration, realized the screen was inner with a subtle and moving. (Picture 2.14.)

Picture 2.14. Qidong Wang. Girl in red

Guqiang Cai: creation is mainly to do some things on their own, canvas to the extension, extension finished down those marks with gunpowder, take a force of nature.

15 Again from the rocks by the sea, Banyan tree rubbings, then restructure, with the forces of nature make the finite to the infinite. (Picture 2.15.)

Picture 2.15. Guqiang Cai. Catching Fish

At by of environment compared closed, with gunpowder main has two breakthrough: by life of that spatio-temporal was suppressed, with gunpowder explosion this destructive of activities, makes himself get liberation, addition is in works Shang gunpowder explosion produced of accidentally effect, make I overthrow has a species conservative of styling inertia, through explosion of contingency, produced on traditional culture negative pressure of breakthrough. (Picutre2.16.) (Picture2.17.)

Picture 2.16. Guqiang Cai. Mainland Move Picture 2.17. Guqiang Cai. Lucky Fu

Zhaoyang Yin: “the youth cruelty painting "representative of the trend. Yin's works, "dreams" and "surreal" but regardless of expressionism, is the realistic expression, always respect the real-life experiences and feelings, using painting to express his artistic vision. 16 Arms up to art to balance between the ideal and the reality, Artists sensitive insight and sharp judgment make ideal reality is not far away(http://yinchaoyang.artron.net/about). (Picture 2.18.) (Picture 2.19.)

Picture 2.18. Zhaoxue Yin. Made of snow Picture 2.19. Zhaoxue Yin. Summerhill

Compared with the previous creation, appearance and content of his work in recent years there has been a lot of changes, the most obvious one is from my personal narrative to narrative, the heroism of complex and utopian dream implies concern for social awareness, followed by his change of style of life, and swirls of rich visual change expresses the fleeting feeling. (Picture 2.20.)

Picture 2. 20. Zhaoyang Yin. Old trees

Ye Liu ：he is a playful field of Chinese contemporary art is full of artists, to Frank cartoon images depicting the age fairy tale. He red tide of Chinese contemporary art,

17 adhere to the "traditional" and the beauty of human nature. His work is beautiful, cute, bright, but not as simple as a cartoon. (Picture 2.21.) (Picture 2.22.)

Picture 2.21. Ye Liu. PLum blossom Picture 2.22. Ye Liu. Goodbye,

In many of his works, behind the beautiful, but always make people feel a little evil, for example under his brush dripping with tears of Ruan lingyu, suicide, Romeo, SM the dynamism of women teachers, holding pig girl. (Picture 2.23.)

Picture 2.23. Ye Liu.

Huaiqing Wang: at work with his accurate and vivid style, fluent, clear line illustrations known attention to structural factors in the Chinese artistic traditions were creatively realized the modern transformation. (Picture2.24.) (Picture2.25.)

18 Picture 2.24. Huaiqing Wang Hometown Picture 2.25. Huaiqing Wang Structure Concrete does not overwhelm the screen to which the abstract spirit of Eastern culture and Western skills here in perfect harmony. (Picture 2.26.)

Picture 2.26. Huaiqing Wang. Flying psaras

19 3．CHARACTERISTICS OF WESTERN MODERN ART Modern art is the artist felt about the objective world. This performance, reflected in the objective external world to art and art itself. Modern art, regardless of which school or which artist is an individual, any artistic style, no matter how much his works strong, how unique forms, the essence of art is only two words, and that is "performance". It’s a modern Center of artists established themselves in a way of an affirmation and a sense of self value. Therefore, the nature of the performance, have become the essence of modern art total. This essence is reflected in every modern artists think they are creating a whole new world of art. (Picture 3.1.) (Picture 3.2.)

Picture 3.1. . Plate painting Picture 3.2. Julian Schnabel. Plate painting

Impressionist artist : his art is shown outside the vocabulary and exploration of the combination of color, his art is exploration of light and color and performance. (Picture 3.3.) (Picture 3.4.)

Picture 3.3. Claude Monet. sunset Picture 3.4. Claude Monet. lotus

20 Post-Impressionist painter : Van Gogh's paintings by , screen color, tones and bright. Driven by innovation trend of thought in literature and art and later Japan painting inspired by the bold exploration, free to go back on an inner feeling of style, the pursuit of themselves expressiveness of line and color, pursuing screen flat, decorative and meaning. (Picture 3.5.) (Picture 3.6.)

Picture 3.5. Van Gogh. Al snow in the distance Picture 3.6. Van Gogh. Provence haystacks Van Gogh's work contains a profound sense of , strong personality and form a unique pursuit in the fierce spirit in all its forms under the control of jumping and twisting. Shown are the artist's subjective feelings, cathartic without reservation in the picture. (Picture 3.7.) (Picture 3.8.)

Picture 3.7. Van Gog. Wheat fields Picture 3.8. Van Gog. Olive trees

Post-Impressionist painter Paul Cezanne: he is an expression of the form in the

21 limited space of the rebuilt, as well as natural observation method of an object changes. Not what but how to draw. (Picture 3.9.)

Picture 3.9. Paul Cezanne. River Villa mengreluer detour

Abstract artist : They are demonstrated by the establishment of purely abstract and variations. (Picture 3.10.)

Picture 3.10. Wasslij Kandinsky. the attachments

Abstract Expressionism : Their creation without prior planning, painting has no fixed location, likes to wander around the canvas, to repeatedly

22 unconscious movement into a complex thing, line confusion networks, known as the "". The descriptive composition design and not Center, cannot be identified, has distinctive characteristics of . (Picture 3.11.) (Picture 3.12.)

Picture 3.11. Jackson Pollock. the bule of the pole Picture 3.12. Jackson Pollock. No.31

Ricardas Bartkevicius: performance representative, has an independent dramatic, grotesque, optimism and nihilism, painting preferred surface feel. Skillfully managing the skills in painting of bright objects, his works with pure color, naturally. His vivid brush strokes, is not only the of the performance, and body paint. The work is interpretation of pulsating energy and an active lifestyle. He was very loose brush strokes, works are linear spring with great benefits. He has proved that Painter is still a material of the reality world. The artist's project not only to address specific areas of pattern, suspicion or "serious" problems. Composition of the artist painting , mediocrity and "important" things strongly moved, jump, joy, frivolous. They tend to focus on people-oriented, as if it were any significant ceremony participants. His inspiration made works to build a metaphor meaning blurry image, this is a very interesting story. (Picture 3.13.)

Picture 3.13. Ricardas Bartkevicius. Self- with a frame

23 Ricardas Bartkevicius，scene of painting is simple and mysterious, unexpected pride. This is a visual clue and experience and the world feels at home. It manages the number of and artists tend to abstract, draw a sense of order and harmony within. His paintings are interesting, full of unexpected combinations of vacant space layout and expressive color stains. (Picture 3.14.)

Picture 3.14. Ricardas Bartkevicius. Higher pilotage

Pablo Picasso: his method of drawing major trends is rich, space, colour and the use of wire with amazing heart of frank and innocent , to complete freedom of reinventing the world, freely exercised his power. (Picture 3.15) (Picture 3.16)

Picture 3.15. . Dream Picture 3.16. Pablo Picasso. AVN girl He does not prescribe, not bias, nothing is needed, and what wants to create. He has no

24 laws to follow in the , from naturalism to Expressionism, from classicism to , and back to realism. From the concrete to the abstract, coming and going, he opposed all bondage and all divine view of the universe, only the absolute freedom for him. Works of art are created by the great man. (Picture 3.17. )

Picture 3.17. Pablo Picasso. Reading

25 4. DISCUSSION OF CHINESE AND WESTREN PAINTING ART

In integrating Chinese and Western cultural context, to inject their humanistic essence of traditional Chinese oil painting landscape oil painting, formed with a unique aesthetic connotation of Chinese landscape painting. Painter-style writing Chinese and Chinese traditional painting of charm, artistic concepts into this Western oil painting system, flourishing in current Chinese painting has been far-reaching (Liwen, 1998). , United States important contemporary neo-realism painter, mainly in watercolor and , with topics close to civilian life is famous, depicting United States country natural climatic and figure paintings, exquisite vivid realism, the performance of the communication and harmony between man and nature, simple theme, people miss the native and natural feeling. His rich memories and associations, will live in the piece, into moving pictures. He keenly felt, refined realistically, capture the moment of vision. Wise to create a personal subjective art, in a continuous and sustained individualism, this no stability and no grasp of reality. (Picture 4.1.) Guanzhong Wu Famous contemporary painter in china, he succeeded in traditional Chinese ink painting and Western oil painting subtly combined, way out West with Oriental ink painting oil painting art concept, Artistic conception of painting expression of Oriental ink painting, they are complementary, elements of China's traditional art combined with the Western idea of success (Yan, 2010) . (Picture 4.2.)

Picture 4.1. Andrew Wyeth Picture 4.2. Guanzhong Wu Dushizhiwang

26 Andrew Wyeth was praised as United States nostalgic realism painting master, his realistic depiction of his native landscape, visual experience will be organized, have strong local color, creating a unique nostalgic style of realism. (Picture 4.3.) 60-70 years of last century was Wu oil painting of the mature period, he more and more concise in the composition, but with oil painting perfect show wealth of emotion, which formed East of poetic implication to the rich in rich form. This full performance has painter in simple and rich, purely and changes in the of exploration with a rich poetic and Visual impact of painting performance form, so this a period of works in the both performance has on Western modern painting skills of introduced and refined, and in China traditional painting and Western painting combined aspects made has is big progress, also for himself of "kite constantly line" of creation concept (Yan, 2010). (Picture 4.4.)

Picture 4.3. Andrew Wyeth hometown Picture 4.4. Guanzhong Wu luxun’s hometown

Fengmian Lin: he thinks that Chinese art must be reformed, have to borrow something from the West, and to change China's art, change people's perception of art to Western best in China, but he did not think it should be simple and the introduction of Western realism, and should introduce the spirit of modernism, Western liberal idea of creation. (Picture 4.5.) (Picture 4.6.)

Picture 4.5. Fengmin Lin. Landscape Picture 4.6. Fengmin Lin. Landscape painting

27 and China elements of combined raised "China hot" prevailed: in Rococo times imitation Chinese of lifestyle became French of a fashion, then of people to learning China, even talk are to loaded die do sample of with since thought "Heaven" of tone,; Versailles in, some nobles men and women wearing China clothing, and participate in makeup ball; not understand China tea ritual of people will consciously shame, they put Chinese of lifestyle as an elegant of behavior. Rulers are advocated support of Rococo artists in order to cater to the elite pleasures of taste, combined with popular elements of Oriental ambience and art forms into paintings, , interior design and decoration. Due to not really understanding and awareness of foreign cultures, when many European social scientists and intellectuals have not personally come to China, they imagine for people inventing a mythical . Rococo style was styles combined with Chinese decorative taste, using multiple s line a gorgeous , dainty tedious art style. (Picture 4.7.) (Picture 4.8.)

Picture 4.7. Francois Boucher waterwhee Picture 4.8. Francois Boucher Chinese garden

28 5. THE ART OF “BLOOMING” CREATION PROCESS

Flower as an important part of the natural world, has been widely quoted in various fields, both literature and art is referenced to this deeply, and provides significant value. Since ancient times, the flowers are closely linked with people's lives, people's perception of its respect to exploitation from the very beginning, finally rising to become a symbol of the aesthetic. Van Gogh: Strokes of Van Gogh to recoat the colors, as if sculpted in on a piece of clay. (Picture 5.1.) (Picture 5.2.)

Picture 5.1. Van Gogh apricot blossom in full bloom Picture 5.2. Van Gogh pink peach tree

These are simply sunflowers in a vase, showing a heartwarming experience. Yellow and brown tone of color combined with his technique are beautiful and paint a world full of hope and sunshine. (Picture 5.3.)

Picture 5.3. Van Gogh sunflower

29 ：he sees the essence of painting as something independent of the nature of things, as memories of creative experiences, not generally thinking when repeatedly painting and directly accessing to the perceptual experience of things. Using techniques of plain colors, emphasizing harmony without comparison, the vision after the sermon is the masterpiece of art. His drawing style is very different from Impressionism, strong contours and subjective color through summarized and simplified form, are subject to geometric patterns, to obtain music, rhythm and decorative effect. Its theory and practice impacts a large number of painters, known as Impressionism in France. These artists have an important impact on the art of innovation. (Picture 5.4.) (Picture 5.5.)

Picture 5.4. Paul Gauguin still life cat Picture 5.5. Paul Gauguin the flower of France

Flower has an important position in the traditional Chinese culture, it is influential to Chinese traditional culture and aspects of each period, whether it is customs and cultural differences, or ideology on the cognitive domains of art, flowers are representative of traditional Chinese culture and plays an important role in the field of and artistic value (Yue, and Mingan, 2001). Most of the traditional Chinese paintings use flowers as the theme, creating many classical works, from the picture we can feel the flowers in Chinese culture are traditional heritage and a symbol of art.

30 Baishi Qi：Strong of flavor, of simple farmers consciousness an innocent romantic, rich in innocence and poetic, is Baishi Qi art of inner life, with warm crisp color, ink and color strongly defined, simple and honest clumsy in styling and strokes, workers and wrote of extreme synthesis, citizen see odd of constitute, as Baishi Qi unique art language and Visual shape, Baishi Qi is relatively art of external life. (Picture 5.6.) (Picture 5.7.)

Picture 5.6. Baishi Qi Orchid Picture 5.7. Baishi Qi Plum blossom

Realistic emotional expression and the corresponding forms, which reinforce the expression of emotions, mutual needs, mutual growth, interdependencies and form of Baishi Qi art life, namely Baishi Qi art style. (Picture 5.8.)

Picture 5.8. Baishi Qi Peoy

31 Daqian Zhang ： 20th century Chinese painter, the most legendary of splash-ink painters, especialy distinguished with achievements in landscape painting. He is inheritor of traditional culture while at the same time he thought of innovation. He is representative final tradition on the basis of the development of ink painting. In the 20th century Chinese painter, Zhang is considered one of the best at painting simple and elegant paintings. He created painting which show people in , figures, flowers, feathers, no negativity, especially in the landscape with special contributions. (Picture 5.9.) (Picture 5.10.)

Picture 5.9. Zhang Daqian Orchid Picture 5.10. Zhang Daqian Lotus

After living abroad, he created a style combination of work and writing, integrating color, ink, especially splash-ink splashed with color, creating a new style of art. (Picture 5.11.)

Picture 5.11. Zhang Daqian Plum Blossom

In traditional Chinese painting, flowers are shown as broken branches of flowers. This is reflective of the Chinese people's aesthetic taste - broken branched flowers with a 32 dynamic and balanced beauty, movement, and meet the Chinese Yin-Yang and thought. Ink is used for painting shades of the prunes. First thing to note on the ink - dry-wet changes. With this we deal with the relationship between inking and with the ink: we use a large hardware bucket, retrograde brush, pen filled with ink-side front. Using different flicks will also change the outcome: through the press, frustrated or homeopathic enhanced strokes of the pen, once dipped in the ink in one fell swoop. Bank which fronts or bitter words, shall be maintained to let nature take its course, wait for the ink to dry by cover color appearance of God. Trunks are made using double strokes, arranged around two parallel lines, first left and then right to draw. Main homeopathy is painted after the completion of large branches and young stems, stated in his presentation with the cracked part of presentation. (Picture 5.12.)

Picture 5.12. Branches drawing

5.1. Seeking for idea and works of solution When I traveled in Europe and walked on Europe's streets (Picture 5.13.) (Picture 5.14.), I found that compared with China's architecture its style is very different, and it makes me feel very surprised.

Picture 5.13. Milan Picture 5.14. Barcelona 33 Every city in the European architectural and cultural landscape is different, as an international student, I lived and studied in Vilnius, the architectural style is different from other cities in Europe. My final work, first of all is familiar to the surrounding life environment ， so I started filming the streets and buildings in Vilnius. (Picture 5.15.) (Picture 5.16.)

Picture 5.15. Vilnius Picture 5.16. Vilnius

So I want created this series of works inspired by urban life, a creation using oil painting. As a Chinese student studying and living in Europe, I strongly feel the living environment is different between the East and the West, so the creative theme is a combination of Chinese and Western cultural landscape and architectural styles. I tried different styles when painting the cities, here are some of my works. ( Picture 5.17.) (Picture 5.18.) ( Picture 5.19.) (Picture 5.20.)

Picture 5.17. Cities in rain Picture 5.18. Cities in rain 34 Picture 5.19. Night city Picture 5.20. Night city

It was coming of spring, when I saw everything, I thought of China's flowers and trees, flowers in Chinese culture and art, it has a very important meaning, which itself is one of the most important representations of Chinese art elements, so I came up with the combination of Chinese and Western creation and began the final creation. (Picture 5.21.) (Picture 5.22.)

Picture 5.21. Tulip Picture 5.22. Tulip

35 Different flowers have different connotations, representing different emotions. While in China, Plum, Orchid, chrysanthemum, and bamboo is known as the "four gentlemen". (Picture 5.23.)

Picture 5.23. Chrysanthemum, bamboo, orchid, plum,

Because of the "four gentlemen" nature presents in itself a natural beauty. More important is the ancient personality power ， a moral sentiment and culture of the "four gentlemen". Through the "four gentlemen" we can repose the ideal concept of self-worth and personal pursuit (Yue, and Mingan, 2001). “Four gentlemen ", one of the plum blossom, more hardy and blooming early. Plums open in the cold. Beautiful and absolutely vulgar, they are the symbol of indomitable personality. Mainly defying the cold, Frost and snow's unique personality. Orchids in paintings generally place a deep aromatic and noble sentiment. Mixed flowers on the other hand have thorns - a moral that man can breed evil. Orchid, Pale flower scent is clear，they are born in secluded places, so they are often perceived as a symbol of a gentleman. Chrysanthemum - it is not only elegant, aromatic, and of unyielding character, it has traditionally been used to symbolize a calm and proudly unyielding character. Bamboo in winter does not wither, its upright, modest and adopted, almost cheesy in a way, often used as a symbol of the Elegant Man of Butongliusu (Yue, and Mingan, 2001). Here are my own different styles of flower paintings. (Picture 5.24.)

36 Picture 5.24. Sketches of different style flower painting

In this work, I introduce the plum blossom as a representative, because plum is the first of the “four gentlemen”，it is a powerful representation of the Chinese art and culture. So I need to learn traditional Chinese flower painting techniques，in order to better show the charm of Chinese flower painting. ( Picture 5.25.) ( Picture 5.26.)

Picture 5.25. Plum blossom Picture 5. 26. Plum blossom

Art from life, We have to see things with an artistic eye to better detect many interesting things in life, I do the same with my final work. I try to observe an object from different angles to make writing interesting. The viewers and creators should find the work interesting, in order to realize its significance and value. So I was observing a part of the building. (Picture5.27.) (Picture 5.28.)

37 Picture 5.27. Part of a building Picture 5.28. Part of a building.

Here are some of my Windows work. (Picture 5.29.) (Picture 5.30.)

Picture 5.29. Windows 1 Picture 5.30. Windows 2

When it comes to observing things from various perspectives it made me think travel in Europe to some unique places. Apart from the quiet streets of Europe outside the Manor, mysterious and romantic castles, there is also the ubiquitous colorful flowers under the window. (Picture 5.31.) (Picture 5.32.)

38 Picture 5.31. Window with flowers 1 Picture 5.32. Window with flowers 2

Europe's unique style is embedded in the ancient lanes under the window of the , a window is a beautiful oil painting, depicting the various romantic and delicate details, like a beautiful encounter, very few people will not move for it. (Picture 5.33.) (Picture 5.34.)

Picture 5.33. Window with flowers 3 Picture 5.34. Window with flowers 4

The local architecture is representative of Western and European styles. It is also represented in an abstract way using Western art techniques. The flowers are representative of China using Chinese flower painting techniques. Using forms of traditional Chinese flower painting over buildings forms the combination of Chinese and Western art. (Picture 5.35.) (Picture5.36.)

Picture 5.35. Flowers cover buildings 1 Picture 5.36. Flowers cover buildings 2

39 Here are some of my works that showcase a combination of Eastern and Western art styles. (Picture 5.37.) (Picture 5.38.) (Picture 5.39.) (Picture 5.40.)

Picture 5.37. Sketches 1

Picture 5.38. Sketches 2 Picture 5.39. Sketches 3 Picture 5.40. Sketches 4

5.2. Final works There were different problems in the work process which in turn led me to find myself and my final work. Here is my final works sketches. (Picture 5.41) (Picture 5.42) (Picture 5.43) (Picture 5.44)

Picture 5.41. No.1 Picture 5.42. No.2

40 Picture 5.43. No.3 Picture 5.44. No.4

I think, this combination is not only an artistic creation. It is also the fusion of Chinese and and communication: the building is solid, the flowers are full of hope, which also symbolizes peace. (Picture 5.45.) (Picture 5.46) (Picture 5.47)

Picture 5.45. No.5 Picture 5.46. No.6 Picture 5.7. No.7

41 CONCLUSIONS

1. Traditional West and East painting have some similarities and some differences. But both branches of modern art have a lot of inspiration. 2. Modern Western and Eastern painting have their own characteristics. 3. I created a cycle of paintings and tried to experience Western and Eastern painting, I think my work represent my achievement.

42 SUMMARY TITLE: WEST AND EAST AUTHOR: Ruxuan Nie LEADING PROFESSOR: Prof. Ricardas Bartkevicius The main idea of this work is a combination of Chinese and Western painting, to showcase that art knows no boundaries. As long as it is conducive to the development of art, we should support the creation of international art more actively. In my works architecture and flowers represent the blend of Western and Eastern art and a motif of peace. The first part is meant to explore the principles on European painting and traditional Chinese flower painting, understand the significance of China flower painting tradition in Chinese art and learn painting skills. In the second part I try to practically express the combination of Western and Chinese painting. This creation is divided into several parts: a photograph of European street architecture in an abstract way, shown on the screen, then combined with the traditional Chinese flower painting techniques to create sketches of the painting as a whole, followed by the final work. There were many problems in the creation of the sketch, but the good thing is these issues make me gradually find myself And finally the five final works were produced.

Apibendrinimas Darbo tikslas apželgti Rytųir Vakarų tapybos mokyklų ypatumus, aptarti sąsajas.Šiuolaikinė Vakrų tapyba nemažai įdėjų sėmėsi iš Rytų. Tokiu kultūrų kaip Kinijos patirtis vis dar inspiruoja ne vieną šios dienos Vakarų meninką. Tą pati būtų galima teigti ir apie Rytų tame tarpe ir Kinijos meninkus ir joje vykstančius meno procesus, kurie tampa vis atviresni įdėjoms iš vakarų dėka įvairiausių priežasčių. kūrybinio darbo tikslas remiantis tiek Vakarų tiek Rytų , būtent Kinijos tapybos principais sukurti tapybos darbų ciklą, kuris leistu man vizualizuoti mano nuotaikas ir jausmus.

43 REFERENCES

1. Chuanxi, C. (2009). Chinese painting art history [M]. Beijing: People’s Education Press.

2. Bomin,W. (2009). Chinese painting art history [M]. Culture and Arts publishing house

3. Liwen, S. (1998). The Fine arts exchange between East and West [M]. Nanjing: Jiangsu Fine Arts Publishing House

4. Yue, S. and Mingan, Z. (2001). Chinese symbol culture [M]. Shanghai: Shanghai People’s Publishing House.

5. Yan, Z. (2010). From Guanzhong Wu fusion of Chinese and Western painting [J]. Gansu: Northwest Normal University College of fine arts

6. http://wenku.baidu.com/view/820de7b169dc5022aaea00fd.html.

7. http://yinchaoyang.artron.net/about

8. http://artist.artron.net/20150525/n744527.html.

9. http://www.xzbu.com/7/voew-3058061.htm.

10. http://yangshaobin.artron.net/

11. https://www.douban.com/note/78479088/

44 FINAL WORKS

45 46 47 48