Особенности воплощения образа Хуанхэ в китайской масляной живописи рубежа XX и XXI веков

Хуан Юаньпэн

doi:10.25136/2409-8744.2022.4.38499


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Man and Culture

Reference:

Huang Y. The Embodiment of the Image of Yellow River in Chinese Oil Painting of the turn of the XX and XXI Centuries // Man and Culture. 2022. № 4. P. 94-105. DOI: 10.25136/2409-8744.2022.4.38499 EDN: WQOMFR URL: https://en.nbpublish.com/library_read_article.php?id=38499

The Embodiment of the Image of Yellow River in Chinese Oil Painting of the turn of the XX and XXI Centuries

Huang Yuanpeng

Postgraduate student, School of Arts and Humanities, Far Eastern Federal University

690920, Russia, g. Vladivostok, ostrov Russkii, kampus DVFU, korp. F

861121819@qq.com

DOI:

10.25136/2409-8744.2022.4.38499

EDN:

WQOMFR

Received:

23-07-2022

Published:

03-09-2022

Abstract: The article examines the historical process of the development of the features of the embodiment of the Yellow River motif, which is quite relevant in modern Chinese art, made in the technique of oil painting. Chinese artists turned to the classical world heritage of painting only at the end of the nineteenth century. In a relatively short period of time, Chinese masters not only perfectly mastered the realistic principles of oil painting, but also were able to adapt this type of artistic creativity to their culture by searching for a national idea of the work. This article is devoted to the analysis of the image and the symbolic meaning of the Yellow River in Chinese oil painting. The study concluded that the character and worldview of the Chinese people originated in the valley of the Yellow River, so the image of this river is inextricably linked in the minds of every citizen of the country with the origins of the nation. Moreover, the artistic expression of the spiritual values of the Chinese people cannot be conceived without the image of the Yellow River. In the modern era, many oil artists express the image of the Yellow River in different ways, conveying their understanding and perception of the national spirit through pictorial means. In this regard, it is of interest to study the variations of the image of the river in oil painting from the point of view of its symbolic meaning and artistic expressiveness. This study identifies and examines, by the example of outstanding works of oil painting in China of the late XX and early XXI centuries, the features of the pictorial reading of the image in the plot compositions.

Keywords:

oil painting, chinese art, artistic image, Yellow River, picture, symbolism, national symbol, the spirit of resistance, heroism, destiny
This article is automatically translated. You can find original text of the article here.

Thus, it can be concluded that in oil painting at the turn of the last and present century, the image of this river is harmoniously intertwined with the plot component, but at the same time, the possibilities of this technique of execution give the masters a much wider range of techniques to convey the character and characteristics of these waters. Oil painting, which perfectly conveys the flow of a powerful stream, its complex color variations, makes Yellow a full participant in events and a tool designed to emphasize the states of the hero and the author himself, which greatly enriches the power of this image as a national symbol.

References

1. Yuanpeng H., Alekseeva, G. V. (2021) The image of the Yellow River in Chinese painting, Izvestiya Baykalskogo gosudarstvennogo universiteta, No 31 (4), pp. 546-552.
2. Huang, Yu., Qin, T. (2022) The Yellow River in modern painting of China: artistic image and means of its embodiment, Art of Eurasia, No 2 (25), pp. 26-35.
3. Jinen, Ch. (2021) Analysis of the situation in modern Chinese landscape oil painting, Art and dialogue of cultures: collection of scientific papers of the XIV International Interuniversity Scientific and Practical Conference (St. Petersburg, 2021). St. Petersburg : Center of Scientific and Production Technologies "Asterion", pp. 175-178.
4. Jinen, Ch., Kurnin, Yu. V. (2021) Landscape oil painting of China at the beginning of the XXI century, Scientific Leader, No 5 (7), pp. 11-13.
5. Desai, Ts., Kolyada, E. M. Features of landscape development in Chinese painting of the beginning of the XXI century, Scientific opinion, 2017. No. 7-1, pp. 95-98.
6. Qianwei, L. (2021) Landscape painting in Russian and Chinese art of the XXI century: traditions and innovation, Art and dialogue of cultures, pp. 135-139.
7. Zhang, L. (2012) Research of Chinese oil painting of landscapes: dissertation. Nanjing: Nanjing University of Arts, 167 p.
8. Sun Tingyu (2019). The study of the language of oil painting, Fiction, No. 5, pp. 56-58.
9. Xiangyang, Zhe (2022). Yellow River in paintings as evidence of changes, NetEase, URL: https://www.163.com/dy/article/HF4JQIG00530WJIN.html (accessed: 08/23/2022).
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11. Qiu, Yu. (1997) Impression of Chen Yifei, Fine Arts, No. 5, pp. 12-13.
12. Fan, D. (2013) Master of Chinese oil painting of the twentieth century – Zhong Han, Culture and Arts, pp. 15-16.
13. Zozhang, A., Keqi, V. (1992) Yellow culture and Chinese civilization, Literature, history and philosophy, No. 4, pp. 10-12.
14. On the creation of oil painting based on the "Cantata of the Yellow River" (2011), Ed. Ye Nan, People's Publishing House of Fine Arts, 98 p.
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16. Reality and realism: the evolution of Chinese oil painting in the XX century (2009), Ed. Wang Dongmei, Beijing: Publishing House of Chinese Electrics, 67 p.

First Peer Review

Peer reviewers' evaluations remain confidential and are not disclosed to the public. Only external reviews, authorized for publication by the article's author(s), are made public. Typically, these final reviews are conducted after the manuscript's revision. Adhering to our double-blind review policy, the reviewer's identity is kept confidential.
The list of publisher reviewers can be found here.

The relevance of the topic of this article is beyond doubt, because, as the author rightly notes, having appeared in China at the end of the nineteenth century, "oil painting was widely developed with the establishment of diplomatic relations between the USSR and the People's Republic of China." At the beginning of the article, the author briefly describes the historical prerequisites for the formation of China's own oil painting technique and the individualization of artistic imagery, and then proceeds to the subject of research. The subject of the study is clearly indicated – it is the symbolism of the Yellow River in Chinese oil painting. The author also notes that "the study identifies and examines, using the example of outstanding works of oil painting in China, such spiritual values of the Chinese nation as the spirit of resistance, heroism, and destiny, the symbol of which in the minds of every citizen of the People's Republic of China is the image of the Yellow River." However, the methods of the research remain uncertain, which leads to further shortcomings. The structure of the article consists of four parts and a conclusion, which can be considered legitimate if the parts are logically interconnected, and the conclusion contains generalizing conclusions. The second part of the article begins with a historical excursion devoted to the influence of the Yellow River on the life of the population, as well as the historically determined significance of this image for the Chinese people. Next, it contains a review of the picturesque triptych "Cantata of the Yellow River" by Zhang Jianjun and Ye Nan (2009). With the emotionality and imagery of the description of the painting, produced by the author with inspiration and deep knowledge of the topic, the features of the artistic embodiment of the idea are identified and analyzed insufficiently convincingly. There is also no generalization or summary of the conducted research. Unfortunately, the examination of the canvases "Ode to the Yellow River" by Chen Yifei (1971 – 1977) and "Drinking from the River" by Zhong Han (1990 – 2008), conducted in the third and fourth parts of the article, reveals similar shortcomings. Here it is necessary to note the advantages of the work, which include exhaustive historical excursions into the prehistory of the creation of paintings. In this context, I would like to advise the author to define the purpose of the study more clearly and focus on the subject of study, justifying the choice of the analyzed works and excluding digressions (for example, the paragraph dedicated to the stone sculpture "Yellow River Mother"). In this way, new results can be achieved in the process of scientific work, which will determine its novelty. As for the conclusions contained in the conclusion of the article, it is recommended to add to them, despite the breadth of the author's tasks, the necessary details and generalizations directly arising from the conducted research. The style of presentation, generally characterized by colorfulness and artistry, requires certain adjustments. Firstly, there are missing spaces in the names of the parts. Secondly, it is necessary to reformulate some phrases and edit the text, paying attention to the endings of words. Here are some examples: "In this regard, the role of the river image in the expressiveness of the idea of the work is of interest." Or: "This technique achieves the effect of simplicity and naturalness necessary for the realization of the conceived idea. In the course of his work, Zhong Han often corrected and changed the drawing in search of expressive artistic imagery." The bibliography of the article corresponds to the research topic, but contains sources only in Russian. The author is recommended to expand the bibliographic list and arrange it according to the requirements. The appeal to the opponents is unintelligible. As the author quite reasonably noted, "today we are talking about the need to study the spiritual potential of Chinese culture in the aspect of artistic appeal in order to attract attention to this topic from artists and art historians, cultural scientists and philosophers. And the research undertaken will be a significant addition to the disclosure of this topic." This work, after some refinement, will certainly be interesting and useful to the widest audience, as well as professionals in all these fields of science.

Second Peer Review

The subject of the study, landscape oil painting in modern China, and its object is the development of the image of the Yellow River in the works of Chinese painters in the late XX and early XXI centuries, is considered by the author comprehensively by analyzing a number of works by Chinese artists, consistently revealing the diversity and evolution of painting techniques in the formation of a national symbol-the image of the Yellow River. The author revealed how the work of several generations of artists formed the stable semantics of the river in the culture of the Middle Kingdom, associated with the heroism of the Chinese people. A special semantic year is formed due to the binary opposition of the tragic and the heroic, embracing, thanks to various techniques (strokes, strokes, colors, plots, shapes, geometry, etc.), various shades of emotional mood. As a result, according to the author, at the turn of the XX–XXI centuries. The Yellow River in the variety of artistic images becomes a stable national symbol of the hard work and heroism of the Chinese people, a kind of "key" to understanding the cultural constants of the Celestial Empire. Of particular value is a detailed analysis of the works of Chinese artists (Chen Yifei, Zhong Han, Zhang Jianjun, Ye Nan), which reveals to the Russian reader the standards of landscape oil painting of modern Chinese art. The research is built in the tradition of modern Chinese art criticism, where the most important problem is the search for originality in the embodiment of artistic images. At the same time, the author indicated that the image of the Yellow River in oil paintings of the late XX and early XXI centuries has not been sufficiently studied. Therefore, the work not only explicates the problems of Chinese art criticism into the Russian art criticism discourse, but also expands the field of scientific knowledge directly in Chinese culture. Thus, the subject of the study has been sufficiently disclosed and is of interest to Russian and foreign art historians and cultural scientists. The research methodology is subordinated to the logic of semantic art criticism analysis, which reveals the meaningful side of the image of the Yellow River in its development. The elements of the analysis of the painting techniques of Chinese artists support as arguments the general logic of revealing the central image as a cultural constant. The comprehensive research program has been fully implemented, the goal has been achieved, and the tasks have been solved. The described problem area and the methodological techniques used are worthy of explication in the Russian and world space of art criticism discourse. The relevance of the topic raised by the author is supported by the context of the general state of painting both in Russia and abroad. Having turned away from monumental images and concentrated on innovative solutions to reflect poorly studied areas of the human soul, modern painting in many countries of the world loses touch with the general space of culture and becomes extremely individualized. In this stream of innovations, the work of an artist who looks inward, rather than into the endless expanses of the surrounding culture, loses its cultural significance and becomes smaller. In this regard, the author's appeal to the topic of the formation of a national image-symbol by Chinese painters is extremely relevant and timely. The scientific novelty of the work lies in the fact that the author concerns the little–studied aspects of the problem of finding originality in the embodiment of artistic images on the example of the formation of the image of the Yellow River in Chinese painting at the turn of the XX-XXI centuries. The style of work is scientific, some shortcomings (the author does not use the accepted abbreviations of centuries and years) do not significantly affect the quality of the article. The structure of the article is subordinated to the logic of the presentation of scientific research. There are no comments on the content. The bibliography reflects the problem area of the study well. Individual blemishes in the design are insignificant and do not affect the overall appreciation of the work. Appealing to opponents is correct, appropriate and sufficient. Of course, the article submitted for review is worthy of publication, since the interest of the readership of the journal "Man and Culture" is guaranteed to it.

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