DOI: 10.7256/2454-0625.2020.5.32729

Abstract: This article examines the impact of Chinese traditional painting upon the formation of Western expressionism, as well as interprets the influence of Western expressionism upon Chinese painting in expressionist manner of different periods. The author reveals the mutual influence, similarities and differences between Western expressionism and Chinese painting in expressionist manner, Chinese imagery oil painting, Chinese colored ink painting, and Chinese imagery painting in Western style. Based on correlation between the spiritual ideology of painting and artistic form, the author carries out a comparative analysis of spiritual and formal factors of Chinese and Western painting systems for the purpose of determination of their mutual influence, and how it affects the emergence of new concepts in painting. The structure of brush stroke of the artist defines his aesthetic spirit. The article determines the “cyclic” nature of interinfluence processes between Chinese and Western painting systems that stimulate the development of human civilization. The analysis of corresponding cultural factors allows assessing the individual artistic characteristics of painting. Both, Chinese and Western painting systems entered the period when spiritual ideology of painting interacts with the artistic forms, opening the era of “globalization” of the language of painting.

DOI: 10.25136/2409-8744.2020.4.32802

Abstract: This article is dedicated to analysis of the works of a contemporary artist Zeng Fanzhi in the context of dialogue of traditions of Western European and Chinese painting. The author reviews the stages of formation of this original artistic manner that combines different stylistic approaches and techniques; reveals the key artistic peculiarities of his works – from referring to Western expressionism to formation of an individual style. A detailed analysis is conducted on the principles of conceptual art of Zeng Fanzhi realized in the use of meaningful images and symbols, such as “masks”. The author examines the methods of abstract painting in the works of Chinese artist reflected in the technique of “chaotic brush”, which is based on the expressive linear abstractions. In the period after 2018, which marks the period of experimental painting, Zeng Fanzhi combines the artistic methods of Paul Cézanne with the concept of traditional Chinese art, with the “found object” technique, offering a completely new interpretation of the works of Chinese classical painting. The article discusses the specificities of linear constructs and brush strokes in the artist’s works for determining the features common to his works of various periods. A conclusion is made that the paintings of Zeng Fanzhi represents a visual manifestation of harmonious interaction of the Western European and Chinese art tradition. Each stylistic approach used by Zeng Fanzhi demonstrates a profound understanding of painting, reveals his creative interpretation of artistic principles of Western European art that formed as a result of personal experience and high level of education. Chinese painting entered the era of non-modernism, remaining in many ways similar and simultaneously different from the art of Western modernism and postmodernism.

DOI: 10.25136/2409-8744.2020.2.31891

Abstract: This article examines the artworks of Zhang Xiaogang as a prominent representative of the modern Chinese painting, peculiarities of his mastery formed in different periods of his creative path under the dual influence of Chinese and Western painting. Transformation and evolution of painting concepts and formal artistic means, claimed in the painter’s “Bloodline-Big Family” series, demonstrate how the “own historical memory” forms new expressive forms of painting. The author compares the interaction of forms and languages in the Western and Chinese painting, as well as analyzes characteristics of the structure of brush strokes of the painter in different periods for showing the formation of the inner spiritual essence. It proves that the clash of concepts of the Western and Chinese painting generated new artistic phenomena, which represent a result of assimilation of painting concepts and “localization” of formal language. The mutual influence of two cultures lead to origination of multiple ideas of plasticity and artistic forms. China has entered the period of “non-modernism”.