DOI: 10.7256/2454-0757.2022.10.38818

Abstract: The article analyzes the ideological foundations of the emergence and evolution of landscape in Chinese painting as an independent genre from the III to the XVIII century, before the rapid integration of Western European artistic traditions. Landscape painting is considered as an expression of the state of mind of Chinese artists, the prevailing philosophical ideas, in particular Taoism, the embodiment of literary images associated with the natural origin. Despite the attention of the scientific community to the development of images of nature in the art of ancient and modern China, there are few studies devoted to the causes and justification of certain processes that influenced the formation of the genre. The purpose of the study is to analyze the reasons for the appearance of images and motifs in the landscapes of Chinese artists in connection with the philosophical ideas of that time, cultural connotations in poetry and the principles of landscape art. The tasks include determining the most typical range of scenes and images in landscapes created from the III to XVIII centuries. The material is the work of Chinese artists who lived since the reign of the Wei Dynasty, during the heyday of landscapes in the era of the Tang Dynasty and up to the XVIII century. Of interest is the study of the mechanism of influence on the formation of figurative systems in Chinese landscape painting that developed in parallel poetry and landscape art.

DOI: 10.7256/2454-0757.2022.7.38534

Abstract: The article analyzes the works of Chinese artists of various historical eras who used a stylistic and thematic direction with the image of a plum blossom. The artists' appeal to images of nature to convey feelings and experiences contributed to the emergence of this image and its formation as a symbol of steadfastness and inflexibility of character. Thus, the subject of the proposed study is Chinese painting, the object is the formation of such a common motif as a plum blossom. The purpose of this publication is to determine the main types of images of this image in Chinese traditional painting in the time interval from the VI century to the end of the XIV century — the most fruitful period of its formation and development. Plum blossom is of greater importance in the development of traditional landscape painting in China. For almost a millennium, the interpretation, compositional solution, as well as the technique of depicting this image have changed. The author's contribution to the development of the problem is a comprehensive analysis of images of plum blossoms in landscape paintings by Chinese artists of various historical eras, as well as the characteristics of the process of evolution and the features of the embodiment of this image. The paper traces the origins of this plot in the art works of Chinese artists, analyzes the processes of change and development of images, and characterizes the specifics of its external expression and internal content.