Ne Zha Begins Hunt for Oscar Glory with Academy Screening
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Advances in Social Science, Education and Humanities Research, volume 341 5th International Conference on Arts, Design and Contemporary Education (ICADCE 2019) Exploring the Influence of Western Modern Composition on Image Oil Painting After "The Fine of 1985" Shisheng Lyu Haiying Liu College of Art and Design College of Art and Design Wuhan Textile University Wuhan Textile University Wuhan, China 430073 Wuhan, China 430073 Abstract—This paper starts with the modern composition in modern composition. They have various painting genres of the West. Through the development of Chinese imagery oil and expressions, enriching the art form of oil painting. painting in China and its influence on Chinese art, this paper explores the influence and development of the post-modern Since the 1980s, with the gradual acceleration of reform composition on China's image oil painting after "The Fine of and opening up, Chinese art has withstood the invasion of 1985". Firstly, it analyzes the historical and cultural foreign cultures and experienced the innovation of cultural background and characteristics of Western modern and artistic thoughts. Image oil paintings have turned their composition. Secondly, it focuses on the development of attention to the exploration of the sense of form of art modern composition in China, and elaborates on the artistic ontology and have made valuable explorations in painting expressions of Chinese image oil painters influenced by form and language of expression, which is largely influenced modern composition. Finally, it considers the main reason why by the form and language of Western modern composition. Chinese image oil painting is influenced by modern Some contemporary oil painters have deeply studied the composition. -
Wu Guanzhong's Artistic Career Yong Zhang1,*
Advances in Social Science, Education and Humanities Research, volume 572 Proceedings of the 7th International Conference on Arts, Design and Contemporary Education (ICADCE 2021) Wu Guanzhong's Artistic Career Yong Zhang1,* 1 State Specialist Institute of Arts, Rezervnyy Proyezd, D.12, Moscow, 121165 Russia *Corresponding author. Email: [email protected] ABSTRACT Combining with Wu Guanzhong's learning experience, this paper analyzes Chinese oil painting art characteristics in different periods, and the method of integrating traditional Chinese ink and wash painting language with the western modern design language in the aspects such as modelling, colour and composition. Wu Guanzhong successfully used western painting method to show the Oriental artistic conception, and formed unique composition views and forms. With the use of concise and simple colors and free-writing lines, the painter's personal emotions, thoughts and standpoint and deep understanding of life can be expressed. On the basis of in-depth research on the essence, connotation and thought of Chinese and Western art, Wu Guanzhong found the "junction" of the integration of Chinese and Western art. Keywords: Wu Guanzhong, Hangzhou Academy of Art, Ink and wash painting, Oil painting, Integration of Chinese and Western art. 1. INTRODUCTION Wu Guanzhong entered Hangzhou Academy of Art to study Chinese and Western paintings. In the Wu Guanzhong (1919-2010), the People's school, he received direct guidance from teachers Artist, Art Educator, and Professor of the Academy such as Li Chaoshi, Fang Ganmin, and Pan of Arts and Design of Tsinghua University, used to Tianshou. Li Chaoshi and Fang Ganmin are both be an executive director of the Chinese Artists teachers who have returned from studying in Association, a member of the Standing Committee France, but their styles of painting are different. -
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Advances in Social Science, Education and Humanities Research, volume 469 Proceedings of the 4th International Conference on Art Studies: Science, Experience, Education (ICASSEE 2020) Study on the Stylization of Color Language in Landscape Oil Painting Lihong Zhang1,* 1Academy of Fine Arts, Huanggang Normal University, Huanggang, Hubei 438000, China *Corresponding author. Email: [email protected] ABSTRACT As an independent genre in painting, landscape oil painting has undergone the process of breaking away from Western oil painting and forming a complete landscape color system, which is accompanied by the style evolution of color language. Taking the French Impressionism and Russian Itinerants as research object, the paper attempts to clear the development of landscape oil painting with art history as entry point in combination with style and characteristic of color language in Chinese landscape oil painting, highlighting the importance of outdoors painting for landscape color language, as well as providing relevant teaching with theory of beneficial complement and practical reference. Keywords: oil painting landscape, color language, stylization I. INTRODUCTION II. CLASSIC SOY SAUCE COLOR As an independent type of painting, Western The landscape oil paintings in classical period landscape oil painting developed through the classical, mainly serve as background, foiling the theme. The modern, and contemporary periods. At the same time, altarpiece The Miraculous Draft of Fishes by Swiss its color language style has gone through many painter Conrad Witz is generally regarded as the earliest changes. Such transformation is driven by internal landscape painting. Although the practice of painting factors covering the cognition process and combination the landscape in oil paint existed in classical times, it of colors, as well as by external factors including social has not been independent from the form of painting, but and historical background, cultural trend of thought and an accompaniment to the figures. -
UC San Diego Electronic Theses and Dissertations
UC San Diego UC San Diego Electronic Theses and Dissertations Title Abstract Art in 1980s Shanghai / Permalink https://escholarship.org/uc/item/16g2v1dm Author Jung, Ha Yoon Publication Date 2014 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA, SAN DIEGO Abstract Art in 1980s Shanghai A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Art History, Theory, and Criticism by Ha Yoon Jung Committee in charge: Professor Kuiyi Shen, Chair Professor Norman Bryson Professor Todd Henry Professor Paul Pickowicz Professor Mariana Wardwell 2014 The Dissertation of Ha Yoon Jung is approved, and it is acceptable in quality and form for publication on microfilm and electronically. ____________________________________________________________________ ____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ Chair University of California, San Diego 2014 iii TABLE OF CONTENTS Signature Page ………………………………………………………………....……. iii Table of Contents ………………………………………………………….…...……. iv List of Illustrations …………………………………………………………………... v Vita ……………………………………………………………………….……….… vii Abstract ……………………………………………………….………………..……. xi Chapter 1 Introduction ……………………………………………………….……………….. 1 Chapter 2 Abstract -
Hkmoa Museum Visitor Experience Programme Our Picks 1
HKMoA Museum Visitor Experience Programme Our Picks 1. Eclectic Mix Shitao (1642 – 1707) Illustrations for poems of Song and Yuan masters Not dated Album of 12 leaves (selected), ink and colour on paper Each 23 x 18 cm Xubaizhai Collection, Hong Kong Museum of Art Display location during project period: Xubaizhai Gallery of Chinese Painting and Calligraphy, 2/F First Glance "Three Distances" are widely adopted in traditional Chinese painting. High distance means viewers look from the bottom of a mountain to its peak. Deep distance is from the front of a mountain to its back. Level distance is from a near mountain to a far mountain. Have a look at the selected leaves of the album. Which perspective(s) did the artist use? Second Look This album is based on poetry from the Song and Yuan dynasties, skilfully integrating 1 the three perfections — poetry, calligraphy and painting. Shitao was not afraid of dispensing traditional brushstrokes, and he suggested that artists use their inspiration and empathy to gain a full understanding of the subject and then develop their own way of depicting it, as he did with the succinct brushwork that he applied to his paintings. 2 Wen Zhengming (1470 – 1559) Cooling off the hot summer 1540 Hanging scroll, ink and colour on silk 147.2 x 61 cm Xubaizhai Collection, Hong Kong Museum of Art Display location during project period: Xubaizhai Gallery of Chinese Painting and Calligraphy, 2/F First Glance The artist Wen Zhengming came from Suzhou, a place with summers as unbearably hot as those here in Hong Kong. -
Asian Catarticle Pp10-21
Revitalizing a Grand Tradition: Contemporary Chinese Ink Paintings by Robert D. Mowry Alan J. Dworsky Curator of Chinese Art at the Harvard University Art Museums. The term “contemporary Chinese painting” has many connotations and calls to mind different styles to different literally as “mountains and water.” The interest in real and painted landscapes reflects the philosophical search for the Fig. 1. Zhao Shaoang (1905-1998) audiences. To many it refers to the cutting-edge, international-style works that are the darling of today’s market—Yue principles that underlie the unity and harmony of nature, a search intricately linked to Daoism. Baoguo Temple on Minjun’s laughing figures, for example, or Zhang Xiaogang’s Bloodline portraits. But another variety of contemporary Beginning in the Northern Song period and coming fully to the fore in the Yuan, the Chinese embraced the Mount Emei, 1959 Horizontal wall scroll; Chinese painting springs from the great tradition of Chinese ink painting and seeks to infuse that tradition with a new literati, or scholar-amateur, ideal. The literati earned their livelihood through government service, writing, or teaching ink and colors on vitality that resonates with the contemporary world. It is this latter variety—so-called contemporary Chinese ink but turned to painting and calligraphy for relaxation and personal enjoyment. They drew inspiration from literary paper; with artist’s painting—that will be the focus of this short article. classics and from the scrolls they collected so that their works of art contained countless references to literary, signature reading Shaoang Over the past fifteen years, Harvard’s Arthur M. -
Chronicle of Events
Chronicle of Events 1949 July January Congress of Chinese Writers and Artists (renamed to The China Federation of Literary 31 The name Beiping (北平) was reverted to and Art Circles) held the First National Exhibi- Peking (北京 adopted to Beijing in 1958) tion of Fine Arts at National Peking Art College. after the People’s Liberation Army (PLA) conquered the city. 2–19 The First National Congress of Litera- ture and Art Workers met in Beijing. A total of six-hundred-fifty delegates February participated the congress, including eighty-eight art workers. The China Fed- 15 The government took over the National eration of Literary and Art Circles Peking Art College. (CFLAC) was founded. 21 China Artists Association (CAA) was founded in Zhongshan Park, Peking. April The Exhibition of New Guohua, featured more October than eighty artists, was held in Zhongshan Park, Beijing. 1 The People’s Republic of China was founded. May November 25 Shanghai was taken over by the PLA. 23 National Peking Art College combined with the art department of North China Univer- sity, establishing the Central Academy of June Fine Arts (CAFA) in 1950. 6 Shanghai prepared to establish the Shanghai Artists Association. # Springer Nature Singapore Pte Ltd. 2020 459 Y. Zhou, A History of Contemporary Chinese Art, Chinese Contemporary Art Series, https://doi.org/10.1007/978-981-15-1141-7 460 Chronicle of Events 1950 November CAA published four issues of the art journal 7 National Hangzhou Arts College was Renmin Meishu (People’s Fine Arts). renamed to CAFA East China Campus (renamed to the Zhejiang Fine Arts Academy in 1958, and then to the China Academy of January Art in 1993). -
A Practical and Conceptual Investigation Into Some Aspects of East Asian and European
A practical and conceptual investigation into some aspects of East Asian and European traditions of flower painting, with two case studies Suyeon Joung A thesis submitted for the degree of MA by Dissertation in Art and Design Department of Writtle University College Awarded by University of Essex Date of submission April 2020 i Abstract I give a historical account of the broad similarities and differences between the Korean and the European art traditions, particularly in respect to still life type practice, and more specifically sub- genres of flower painting, with an explanation in detail some of the philosophical and technical differences. There is a focus on the mutual influence between East Asian and European art in the period of ‘opening up’ towards the end of the 19th century, and on the recent period of an increasingly globalised art world. I present case studies of two artists, one from the European tradition and one from the Chinese, who attempted to fuse practices and ideas from both traditions in their work. There is a detailed account of how I attempted to embed cross cultural ideas, techniques and practices in my own work leading up to my MA exhibition, with a description, review and analysis of my exhibition work. I end with some conclusions and some directions for possible future work in this area, both practical and theoretical. ii Contents Abstract ....................................................................................................................................... i List of Figures ........................................................................................................................... -
Modernity Through Syncretism and Eclecticism: Wu Guanzhong's Artistic Practice in the Cultural and Political Environment of Th
0 MODERNITY THROUGH SYNCRETISM AND ECLECTICISM: WU GUANZHONG’S ARTISTIC PRACTICE IN THE CULTURAL AND POLITICAL ENVIRONMENT OF THE PRC (1949 -1989) BY WENWEN LIU A thesis submitted to the Victoria University of Wellington in fulfilment of the requirements for the degree of Doctor of Philosophy Victoria University of Wellington 2019 Acknowledgments I wish to express my great gratitude to my supervisors Dr Luo Hui and Dr Dennitza Gabrakova for their wise guidance and full-hearted support. I also wish to express my great appreciation to Dr Rebecca Rice, Dr Ellen Soulliere and Dr Lidu Yi for their detailed and insightful comments on this thesis. I owe my special thanks to Professor Yiyan Wang, Professor Clunas Craig, Dr Keren Chiaroni, Dr Catherine Churchman, and Peter HaJecek for their helpful suggestions. This thesis is dedicated to my husband Liu Xin. Had it not been his love, this thesis would not have come to fruition. Abstract This thesis examines Wu Guanzhong’s 吴冠中 (1919-2010) art and art theory in the context of socialist and post-socialist China. Wu’s art came to maturation through a sophisticated syncretism of Chinese and Western painting styles and techniques. Aesthetic considerations notwithstanding, each of Wu’s artistic breakthroughs was also a direct response to the cultural policies of the Chinese Communist Party or to the larger cultural and political currents at important junctures of twentieth-century China. Mirroring the syncretistic style and political nature of his artwork, Wu’s art theory is characterised by an eclecticism that mediates between Chinese and Western artistic concepts and walks a thin line between creative agency and political correctness. -
Wu Guanzhong's Emotion and Fusion Road of Painting Art
Frontiers in Educational Research ISSN 2522-6398 Vol. 3, Issue 14: 86-90, DOI: 10.25236/FER.2020.031415 “Combine Things”--Wu Guanzhong's Emotion and Fusion Road of Painting Art Lv Huabin Huashang College Guangdong University of Finance and Economics, Guangzhou 511300, China ABSTRACT. Wu Guanzhong began to create oil paintings based on landscape sketches in the middle of the last century, injecting Chinese philosophical, artistic, aesthetic, and interesting views into the oil paintings, while retaining the beauty and refinement of Western oil painting colors for fusion Attempt has promoted the process of “nationalization of oil painting” and made tremendous contributions to the foundation of Chinese oil painting. Due to Wu Guanzhong's local roots and emotions, in the 1970s, Wu Guanzhong created and tried to innovate Chinese paintings, and also used traditional materials and tools to express modern aesthetics. He is also committed to the fusion of Eastern and Western arts and does his best to promote the direction of Chinese painting. Internationally, by virtue of its own strength, it arouses the waves of contemporary Chinese painting. This article aims to establish Wu Guanzhong's standards for Chinese painters, and any Chinese art lover should follow this example. KEYWORDS: Wu guanzhong, Emotion, Fusion, Concept 1. Introduction “Since the arts, like a hunter career, chasing tigers and leopards in the mountains, shooting a big eagle with a bow. If you don’t capture prey, you will be like a dog for a bereavement. You will lose your soul and soul in hunting. Dazzling, although thin, the mind is fat and strong.” He also said: “.. -
Embrace a New Generation of Chinese Artists Are Drawing Inspiration From
COLLECTION WEALTH THE | art & style Cultural A new generation of Chinese artists are drawing inspiration from Western techniques to develop a new style. Kathryn Grant looks at three artists who embrace have successfully borrowed foreign ideas while remaining true to their cultural traditions. Left: Old Pine in the Jingshan Park in Beijing, by Wu Guanzhong, estimate: $153,800–$192,300 Right: Mist Clearing after the Rain, by Zhang Daqian, sold for $743,600 20 art & style | THE WEALTH COLLECTION From far left: Chinese Opera Series – Madame Snake White, by Lin Fengmian, sold for $772,720; By the he 20th century saw great social and political upheaval in China, and Lake, by Wu Guanzhong, sold for this has necessarily been reflected in the preoccupations of the era’s $889,200; Water Bamboo Village, by Zhang Daqian, sold for $612,560 Tgreat artists. While China attempted to forge a new identity, embrac- ing its traditional culture while finding a place for the modern world, its artists have also struggled to discover their new role. As Chinese artists learnt more about Western art they were faced with the In the 1950s and 1960s Daqian spent a long time outside China, where he dilemma of whether to approach their art with traditional or foreign methods. came into contact with Western modern art, including abstract expressionism. A pioneering group chose to apply the new techniques they were discovering It is thought that this influenced Daqian greatly, giving an emotive fluidity to produce traditional Chinese art. Absorbing ideas from Western movements, and spontaneity to his art. -
Media Release for Immediate Release Light Within Ink Chua Soo Bin's Portraitures of Wu Guanzhong Singapore, 27 July 2017
Media Release For Immediate Release Light within Ink Chua Soo Bin’s Portraitures of Wu Guanzhong Singapore, 27 July 2017 – For the first time in Southeast Asia, Cultural Medallion recipient Chua Soo Bin showcases over 50 photographic portraits of late Chinese painter Wu Guanzhong, offering an intimate glimpse into the man widely credited as the founder of modern Chinese painting. Presented by The Arts House from 18 August to 18 September 2017, Light within Ink is an exhibition of black and white images captured by Chua of Wu between the mid-1980s to late- 2000s. It documents the creative journey and inspirations that gave birth to some of the artist’s most memorable artworks such as Floating Market in Thailand 泰国水乡 (1990) and Fishing Boats 舟群 (1994). Through the lighthearted and spontaneous moments of Wu’s daily life and interactions, the images in the exhibition not only shed light on the legendary artist’s lively personality but also draw focus to the extraordinary friendship between Wu and Chua, one that spanned three decades. The duo struck up a quick friendship in the mid-1980s when Chua was in China working on his Legends project photographing the legacy of 14 Chinese ink masters. They eventually forged a tight partnership from the 1990s after Chua established Soo Bin Art Gallery to introduce Chinese contemporary art to Singapore and the region, staging numerous shows and creating art publications together that documented important milestones in Wu’s career. “The theme of friendship constitutes the heart of this show. Defying the common perception of artists as creative geniuses who labour in solitude, these photographs celebrate the affinity and camaraderie between two artists of contrasting origins and backgrounds that has been instrumental in sustaining and furthering their artistic journeys,” exhibition curator Kong Yen Lin shared.