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Man and Culture
Reference:
Wang S.
Modern Chinese painting on military themes: "new realism" and loyalty to traditions
// Man and Culture.
2022. № 4.
P. 46-56.
DOI: 10.25136/2409-8744.2022.4.38497 EDN: VYFDKP URL: https://en.nbpublish.com/library_read_article.php?id=38497
Modern Chinese painting on military themes: "new realism" and loyalty to traditions
Van Shue
Postgraduate student, Department of Art History and Pedagogy of Art, A.I. Herzen Russian State Pedagogical University
191186, Russia, g. Saint Petersburg, nab. Moiki, 48, kab. 51
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63855694@qq.com
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Other publications by this author
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DOI: 10.25136/2409-8744.2022.4.38497
EDN: VYFDKP
Received:
23-07-2022
Published:
03-09-2022
Abstract:
In the contemporary art of China, a special role belongs to painting on a military theme. Its formation began in connection with the need to keep a visual chronicle of the revolutionary struggle for the New China, the assertion of its status in the eyes of the people. Initially, realism was chosen as the main artistic method. By the turn of the XX and XXI centuries, as a result of the influence of modern art trends, a "new realism" emerged. The subject of this article is the pictorial work of contemporary Chinese artists who dedicate their paintings to military subjects and themes. He pays special attention to the art criticism analysis of the formal and substantive side of the paintings of the late XX – early XXI centuries. The main conclusion of the study is the establishment of the fact that under the influence of the so-called "new realism" Chinese painting associated with images of war, army, navy, has changed in the direction of images relevant to the era, as well as methods and techniques of image construction. However, at the same time, it should be noted that there is still a connection with traditions, which allows us to characterize the process of evolution of the Chinese school of battle painting. The novelty of the article is the introduction to the scientific circulation of Russian art criticism of a series of paintings by Chinese masters devoted to military topics. In general, the battle genre in Chinese painting is associated in the work with the formation of the People's Republic of China and is considered in a political and socio-cultural context.
Keywords:
military theme, batalistics, contemporary art, neorealism, painting, realistic art, China, traditions, innovation, exhibition
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You can find original text of the article here.
In conclusion, we note that the battle genre in Chinese painting is associated with the formation of a New China and for a long time embodied images associated with the liberation war of the Chinese people. The first batalists were participants in the events they depicted, so the choice of a realistic method of transmitting events became natural. Following them, the authors of the 1960s, with the help of the state, actively created monumental canvases, honing the techniques of realistic painting. They also often turned to academic methods of constructing large-scale compositions and visual identification of the main character. In the 1970s, artists sought to emphasize the contribution of the army and Navy to the peaceful life of the Chinese. They asserted positive humanistic images of soldiers and their actions, striving to show them in a positive way. At the turn of the century, new visual techniques and ideals began to appear in the arsenal of the batalists. The military theme in painting is now focused on showing mass scenes with the participation of soldiers, designed to emphasize the combat readiness of the army and navy. The battle painting of New China is currently striving to reproduce the atmosphere, which gives birth to a new art, but it retains the previous orientation towards positive social influence.
References
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In the magazine "Man and Culture", the author presented his article "Modern Chinese painting on military subjects: "new realism" and loyalty to traditions", which conducted a study of the origin, development and current state of the battle genre of Chinese art. The author proceeds in the study of this issue from the fact that the painting of New China at the beginning of the XXI century is closely connected with the ideological and educational tasks set by the state authorities, and continues those traditions that were laid down in the second half of the previous century. Initially, Chinese artists formed the realistic core of oil painting, as well as the focus on creating an overall picture of the formation of the country, its victories in the field of national economy and in the field of military operations under the influence of the Soviet art school. However, as the author notes, Chinese painters over the past 70 years have created a large number of paintings on military-historical subjects and laid the foundations for their own school of battle painting. They also learned to reflect the spirit of the described era, its aesthetics with the characteristic spirit and temperament of the characters. The relevance of the research is determined by the need to study the specifics of neorealistic trends in modern Chinese battle studies. The scientific novelty of the study consists in a comparative analysis of the works of Chinese battle painting from different historical periods. The purpose of this study is to study the most famous paintings by Chinese artists of the early 21st century, painted on military-historical subjects, in terms of identifying their content and artistic specificity and in comparison with the work of their predecessors. The object of the study is the author defines the features that distinguish modern Chinese battle painting from the works of its predecessors, as well as those features that connect them, making it possible to talk about the formation of a national school of battle painting with its own traditions and stages of development. The theoretical basis is the works of such Chinese art historians as Yuan Fan, Wang M., Jin E., Liu Hong, etc. The methodological basis of the research was an integrated approach, including socio-cultural, historical and comparative analysis. The empirical basis was made up of works of Chinese art devoted to military subjects (artists Cui Guangwu, Chen Jian, Shen Yaoyi, Luo Gongli, etc.). Characterizing the style of Chinese military painting of the beginning of the XXI century, the author refers the works to the direction of "new realism". In the article, the author pays attention to the disclosure of the essence of this trend in art, defining it as a way of creating images that conveys the objects of creativity truthfully and allows you to recreate a sense of time. The trend arose as an opposition to the Western-style modernism movement of the 1980s and 90s, and continues the traditions of the old school, but in accordance with the realities of the new era. In his research, the author pays considerable attention to the historical analysis of the development of battle painting in China. According to the author, modern battle painting appears simultaneously with the emergence of New China in the 1950s of the twentieth century. In the works of that era, a realistic method was approved, which was associated both with the policy of the party and the introduction of the Soviet system of training artists, and with the authors' deep understanding of the essence and atmosphere of those events and the desire to convey them in the simplest possible artistic language understandable to the Chinese people. The next period of development, the 1970s of the twentieth century, was determined by the end of the cultural revolution, the onset of the period of "reform and openness", the battle artists continued their realistic traditions, but turned to creative experiments. According to the author, the former military aesthetics and spiritual qualities remained unchanged. At the present stage, as the author notes, paintings on military subjects still play an active role in Chinese art, expanding the possibilities of the Chinese style and shaping the image of the country. He explains the popularity of battle painting by the fact that the country's art education system has developed an effective mechanism for academic training of personnel to work in this complex genre. Teachers at Chinese colleges and universities are now focusing their students on individual performance and humanistic content, as well as on building an image of the era and aesthetic characteristics of artistic creativity, including military themes. In addition, the Chinese army provides workshops and gives large orders to the battlers, constantly organizes exhibition projects and festivals. The author emphasizes the interest of the government of the country in the development of battle painting as an element of ideological and patriotic education, noting the support of the state in the implementation of major art projects and exhibitions: "An art project about Chinese civilization and history", "To the 80th anniversary of the Victory of the Great Campaign of the Red Army" and "The most beautiful Chinese women". In conclusion, the author presents a conclusion on the conducted research, which contains all the key provisions of the presented material. It seems that the author in his material touched upon relevant and interesting issues for modern socio-humanitarian knowledge, choosing for analysis a topic, consideration of which in scientific research discourse will entail certain changes in the established approaches and directions of analysis of the problem addressed in the presented article. The results obtained allow us to assert that the study of the importance of art as an element of socialization and education of a person and a citizen is of undoubted scientific and practical cultural interest and deserves further study. It should be noted that the author has achieved his goal. The material presented in the work has a clear, logically structured structure that contributes to a more complete assimilation of the material. The bibliographic list of the study consists of 13 sources, which seems sufficient for the generalization and analysis of scientific discourse on the subject under study. It should be noted that the article may be of interest to readers and deserves to be published in a reputable scientific publication.
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