CC BY
89. Satubaldin S. S. (1980) The accounting of production expenses in the USA. Moscow. Finance and statistics. 238 p.
10. Sokolov Ya. V. (2000) "Management accounting: myth or reality?". Accounting. № 18. Pp. 7-12.
CULTURAL MEMORY AND PERSONALITY OF THE ARTIST IN THE DEVELOPMENT OF CONTEMPORARY ART OF AUTONOMOUS REGION OF INNER MONGOLIA OF CHINESE PEOPLE'S REPUBLIC: ANALYSIS OF CONTEMPORARY CHINESE ARTIST LU JINYAN'S WORKS
Abstract
The analysis of the research materials by Russian (S. Voronin, Yu Fedorov and others) and Chinese (Wang Feng, Wen Liu Xin and others) researchers showed that cultural memory as a key factor of the artistic creativity permeates the artistic picture of the world. It is clearly evident in the watercolor landscapes of the Chinese artist Lu Jinyan where deserted, desolate and quiet world of the western highlands of Inner Mongolia are realistically implemented. His skills and expressiveness of his watercolor art is formed through a long artistic practice in his homeland and a constant study of the language of watercolor art.
Keywords
cultural memory, personality of the artist, development of contemporary art, traditional watercolor techniques, methods, brushwork, color painting, sketching
AUTHOR Feng Zong ren
PhD student Transbaikal State University
Chita, Russia
Introduction. A cultural memory serves as a conceptual core of the artist's artistic works, art permeates the picture of the world which renders the human being through the work of art. The personality of the artist verifies the interpretation of the artistic picture of the world.
Materials and methods. The question of personality of the artist in contemporary painting is considered by Y. Fedorov, S.N Voronin. Y. Fedorov actualizes the problem of the artist personality in the contemporary socio-cultural environment, analyzing the role of the creative person in the situation of the cultural crisis of the late XX - early XXI century, and justifying compulsory highest moral, spiritual and ethical requirements to the artist's personality (Fedorov, 2011).
S.N Voronin reveals the mutual form of landscape painting and Chinese calligraphy with the personality of the artist. It proves that a Chinese landscape painting is a universal way to harmonize the personality of the artist with the world (Voronin, 2009). A chinese artist unlike the European painter perceives a landscape as an expression of the immense and spacious world as a grand space, the universal in the particular where the human person as if dissolved in the contemplation of the great, incomprehensible and absorbing
its space (Voronin, 2009). Wen Xin Liu, describing the changes and innovations of watercolor art in China, claims that the artist constantly develops innovative ideas in the art. To understand the art of watercolor, it is necessary to know the characteristics that reflect transparent, wet, light characteristics, to play through a thin and easy rhyme, the knowledge and skills of various traditional watercolor techniques, methods, rock painting murals, rich experience which maximize the level of expression of watercolor expansion. Otherwise, a watercolor loses their viability. The artist needs precise watercolors of language understanding, the basic skills of painting, as a cultural heritage and artistic achievement. Using a variety of watercolor artist execution methods contributes to expression of feelings and ideas (Ven Liu Xin, 2010).
A western watercolor painting in the early 1950s changed the traditional style of Chinese watercolor painting with effects of light and color, light and shadow forms.
The modern Chinese master of watercolor Zhaomin dedicated his life to the study and practice of Chinese watercolor painting based on brushwork, color painting, sketching. His works are unique in content and form. Recently, his works are written in a dry and wet ink. Features of Chinese watercolor painting are the principles of creation when under the "Form is everything", "when people are the picture themselves and when "still life is endowed with meaning". A human nature and landscape create a tranquil mood of the deep (Ven Liu Xin, 2010).
Wen Xin Liu writes that a famous watercolorist Wang Wei was initially engaged with new prints drawing lines in Chinese painting sketches. Available designs became part of his watercolor paintings. Using of fleeting bright and different colors intuitively let the artist create special charm. Wang Wei also has a number of unique features: the ink used in watercolor painting, even in wet rice paper and principle of scanning Mexican monumental painting: painting and texture are infused with a sharp expression and tend to have abstract and symbolic forms full of dynamics, spatial effects, actively influencing the viewer (Ven Liu Xin, 2010).
Wen Liu Xin comes to the conclusion that for the enrichment and expansion of his artistic language, to achieve a true expression of themselves and the world around them watercolor artists used color and tone ratio, knowledge of organic rich emotional language arts. Thus, a clear individual style of the artist is revealed (Ven Liu Xin, 2010).
Jinyan Lui, a watercolor painter of the Mongolian nationality was born in 1963. Recently, his watercolor paintings that describe the main desert valley of Inner Mongolia, are more than once have been awarded to art exhibitions and earned high praise and the praise of the world's watercolor paintings. His work is based on the motives of his homeland and finds a vivid expression in the brilliant watercolor technique. Vast and beautiful landscape of western highlands of Inner Mongolia are shown in a quiet, secluded and surroundings.
Natural and geographical environment of various regions have a close relationship with the formation of graphic aesthetics. The western highlands of Inner Mongolia have unique natural and geographical views. These places are typical of continuous series of high and low hills, boundless steppes, covered with grass, water clear streams, sinuously flowing through the pastures. Over thousands of years Mongolians live here giving the western highlands of Inner Mongolia inexhaustible vitality. Lu Jinyan's excellent skills in watercolor art formed his unique artistic style - the ability to see the vastness of silence. Watercolor painting by Lu Jinyan shows calm western highlands of Inner Mongolia, "wild" latitude showing something sublime, penetrating into the human soul.
Landscape paintings by Lu Jinyan drawn with water-color is the real description of the special natural and geographical shape. He did not pay particular attention to the Mongolian yurts, carts, shepherds and customs of the steppe, like other artists of the steppes. Lu Jinyan emphasizes calm and deserted western highlands of Inner Mongolia. He usually chooses the deep snow-fall or winter mountains and rivers of Inner Mongolia. The
paintings recreate a boundless world: the mountain valleys, layered cliffs, rustling wasteland, a gray sky, lonely trees, the frozen river. Examples of Lu Jinyan's such works are "Plain desert", "Calm after the snow", "The winter sun in the highlands", "Snow Valley" and others (Van Feng, 2008).
Results and discussions. Talking about Lu Jinyan, it should be emphasized that he loves the western highlands of Inner Mongolia. On the one hand, the nature and geography of the highlands aspire the Mongolian artist evolving the feelings of calmness and fabulousness of old unchanging nature. On the other hand, incessant lessons in painting led the artist to a particular understanding of the landscape of the western highlands of Inner Mongolia, its forms, environment, energy and other aspects. The paintings express the beauty and breadth of infinity. This calmess in the watercolor paintings is expressed in natural landscape. In Lu Jinyan's works one can never find humans, horses, cows, sheep and other animals. Not even a high flying eagle. Winter landscape is often quiet after a snowfall picture, rather than the image of falling snow. The artist passionately commits to a world in which "empty mountain, no people, flowing water and flowers bloom", away from the noise of the human world, the desires of the earthly world. The picture of human social activity is not represented on the canvas. Here is preserved the original appearance of the mountains and the seas, the artist does not resort to breaking the original ties with nature. In choosing the material and the alignment of the mountains, water sources and stones he pays special attention to the original vital connection with nature.
This commitment can be seen from the composition of Lu Jinyan's works. When writing landscape paintings he mainly uses three-layered compositions. In the background he depicts a gray sky, in the middle - continuous mountains and hills, and in the foreground - desert valleys or watercourses. In this case all three planes are parallel to each other, so that in the composition there is a strong jump, and the state of tranquility in the midst appears smoothly.
The calm is expressed by means of "emptiness". Emptiness and tranquility are interrelated: void emphasizes the atmosphere of calmness, serenity to a certain extent is vast. Such a composition in itself expresses a broad outlook and the feeling of vastness to the audience. An unclear warming winter sun in the boundless sky in the background, extending to both sides of the mountains and hills in the middle ground gives the impression of infinity, creates a sense of boundless breadth which further underlines the serenity of the picture. Tranquility is a sublime beauty that reflects the vastness and emptiness of the Mongolian steppes.
In the pictures depicting the landscape of western highlands of Inner Mongolia Lu Jinyan significantly emphasizes the "antiquity". For example, in the picture "Snow in the ancient city" multiple segments of walls, crumbling in places by a thousand-year impact of the wind and rain, still firmly dominate the snowy valleys. Dry grass and white snow in front of the wall show the boundless historical breadth and permafrost. In the picture "The ancient path of the Khuankhe" millennial river water washed rocky and layered ancient way like a placid river tells a sad story. In general, the basic material for Lu Jinyan's landscape paintings serves western highlands landscape of ancient Inner Mongolia, in particular, winter and autumn landscape. Vast land, dry grass, bare cliffs or the first snow, snow-covered ditches and all depicted objects convey a sense of abandonment and cold. And most importantly, they express these objects (for example, in the picture "Ancient years") the time of year is delayed in a desert between heaven and earth, appearing and disappearing in itself. It captures the essence of the natural environment and geographical latitude highlands of Inner Mongolia, which constantly exist in space and time (Van Feng, 2008).
However, feelings of serenity and abandonment in Lu Jinyan's paintings do not transmit anguish and reflect the liveliness of life. This reality is the artist's understanding of nature, knowledge of the life of the individual and a cosmic ideology. Figuratively
speaking, the artist has found a way of life in it. We can say that the abandonment within the paintings carefully created by the artist place his lonely soul yearning. In the silence of abandonment one can find life force, it is a sense of respect to the artist's western highlands of Inner Mongolia and nature in general. Therefore, in the vast desolate world we see that it is not a quiet sadness or abandoned cold and vitality. The information is observed from artist's intent, for example, in the picture "The Sun in the early spring" we see the melting ice and snow is the quickening power of the earth. Although there is no grass and other vegetation, but ground looseness clearly expresses the arrival of spring. Under the inspiration of 'Winter Sun" in the ice and snow world, these naked orange-red rocks give a feeling of warmth, spring expresses hopes and dreams. In addition, Lu Jinyan's watercolor paintings in an atmosphere of abandonment and tranquility clearly express the basic idea of the image - the idea of a positive life force. Although that represented an autumn rustle, the sky snow and an icy land but the integrity of the yellow, green and red colors make people feel warmth and growth. It reflects the boundless vitality stored in this ancient land and shows the deep feelings of the artist to this land (Van Feng, 2008).
Over the years Lu Jinyan described the landscape of western highlands of Inner Mongolia, continually conducting research language of watercolor art, seeking to true to life embodiment of the vastness of the mountains and water which he really loves. In his pictures one can feel smoothness, and moisture watercolor language, serious, widespread and expressive mood, particularly in terms of colors and the use of complex and changing the surface texture. For example, painting 'Winter Sun Plateau" acquires shades of purple: a purple sky gradually becomes higher and denser emphasizing the rich change of fractured surface of the slopes with snow remnants, and rich color changes Highlands under the sun. Yellow-orange and red-orange rocks exposed in the illuminated portion, and purple and black in the shade, as well as pure white snow and illuminated part of the silver-gray color of the snow in the shadows create a bright and colorful world. Just the description of color changes highlands in silver dress, expressing the wealth of the world in which a full life force lies. The artist's desire to change the rich textures demonstrates subtlety and believability of image objects.
Conclusion. Thus, the analysis of the research materials by Russian (S. Voronin, Yu Fedorov and others) and Chinese (Wang Feng, Wen Liu Xin and others) researchers showed that cultural memory as a key factor of the artistic creativity permeates the artistic picture of the world. It is clearly evident in the watercolor landscapes of the Chinese artist Lu Jinyan where deserted, desolate and quiet world of the western highlands of Inner Mongolia are realistically implemented. His skills and expressiveness of his watercolor art is formed through a long artistic practice in his homeland and a constant study of the language of watercolor art.
"Highlands in winter"
"Wasteland". Watercolour, 320 x 550. 1998
Watercolour, 420x580 2001
"Long years". Watercolor. 567 x 292. 2006
"A solar spring" Watercolor. 550 x 378, 2008
"Snow rhyme of Antiquities" Watercolour, 240 x 360,1995
"The Way of the Khuankhe" Watercolour, 400 x 292. 2004
"The spring sun" Watercolor. 850 x 577, 2007
"Winter Highlands" Watercolor. 3036 x 2154, 2003
"Once after the snow." Watercolour, 600 x 880. 2001
REFERENCES
1. A Brief history of foreign art (2007). Beijing: China Youth Press. 98 p.
2. Fedorov, Yu. (2011) "The problem of personality of the artist in contemporary culture and art. Part 1 (Theory of the question)". Culture of the Black Sea people. № 212. pp. 185-189.
3. Van Feng (2008). Theory of watercolors: a textbook. Beijing: Beijing University Publishing House, 132 p.
4. Ven Liu Xin (2010) "Changes and innovations of watercolor art". The theory of art. "Concept Art», № 11. P. 175.
5. Voronin, S.N. (2009) The classical Chinese landscape painting as an expression of the harmony of the individual artist and the world (PHD dissertation in Arts). Available from ProQuest Dissertation & These. Barnaul. 19 p.
