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Section 4. Theory and history of art - European Journal of Arts 4 (2021) - ISSN 2310-5666 -
UDC75.021.32(510) DOI: 10.29013/EJA-21-4-143-147
LIU FAN 1
1 Kharkiv State Acagemy of Design and Arts, (Kharkiv, Ukraine)
THE LATEST TRENDS IN THE MODERN OIL LANDSCAPE PAINTING OF CHINA
Abstract
The purpose of the article: reveal the main trends in development of modern oil landscape painting of China; identify a circle of prominent masters of the landscape genre in China, whose work combines national traditions of Chinese landscape painting and modernist innovations.
Research methods: method of art analysis, structural-semantic method.
Research results: determined the main typological features in landscape oil paintings of China, and principles of development of landscape paintings. Traced features of the flowing painting method of Chinese landscape painters. Philosophical, national, aesthetic preferences of artists are considered.
Scientific novelty: a comprehensive analysis of development peculiarities of Chinese landscape with oil paintings represents the trends of flowing painting method in world painting against the background of dynamic process of integration of modern oil art. Particular attention in the study is paid to identifying the modernist trend as a stylistic dominant of Chinese art development based on the synthesis of traditions and innovations.
Practical application: obtained results can be used in further research on the history and theory of fine arts, in particular in research of oil landscape paintings development.
Keywords: Chinese landscape oil painting, Chinese national landscape painting in ink, European painting, trends, innovations, Chen Songmao, Zhu Sha, Chen Hesi.
For citation: Liu Fan. The latest trends in the Modern oil Landscape Painting of China // European Journal of Arts, 2021, №4. - C. 143-147. DOI: https://doi.org/10.29013/EJA-21-4-143-147
Background: Modern Chinese oil painting is rapidly integrating into the world art space. Artists find new ways in art, synthesizing principles of realistic and modernistic painting. Chinese landscape oil painting is an extremely multifaceted and complex phenomenon represented in modern art.
Landscape painting in China has historically led the hierarchy of art genres. In this visual field, the artistic way of comprehending reality and the specifics of the figurative embodiment of real landscapes are fully revealed. The oil landscape developed rapidly in the XX century, its ethnic and regional features are at the intersection of Eastern and Western artistic trends [1, P. 112]. There are great differences between Chinese landscape paintings and Western oil landscape paintings in the methods of their artistic expression and their visual means formed in the process of inheriting traditions and innovations.
Expressionist experiments with form are characteristic of the contemporary artist Chen Songmao. The artist was born in 1935 in Pinghu, Zhejiang Province. In 1961 he graduated from the Faculty of Oil Painting of the Academy of Fine Arts in Guangzhou. At the beginning of the XXI century, we can trace a key turn in the creative worldview of the artist: the transition from a superficial depicting of objects to the internal reflection of images [2, P. 61]. This Chinese artist began to pay more attention to the artistic language and composition of forms, which enriched his authorial style.
In the painting called "The Mountain" (pic.1), the artist's rhythmic forms captivate the viewer's gaze on a lone tree, which is incredibly bent under a strong wind. It becomes a symbol of the strength and spirit of the individual who opposes the force of nature. You can see that the landscape is presented as if from a bird's eye view. Mentally, the picture can be divided into several plans,
LIU FAN THE LATEST TRENDS IN THE MODERN OIL LANDSCAPE PAINTING OF CHINA
European Journal of Arts 4 (2021)
I PREMIER
ISSN 2310-5666
Section 4. Theory and history of art
each of which rises above the previous one, so that distant objects are the highest, and the horizon rises. The linear style inherent in the European style is replaced by a diffuse one, due to which the viewer begins to think
that the world you see in the picture is immeasurable. Thus, despite the rapid integration into Chinese culture of the influences ofWestern European realistic oil art, the landscape genre preserves national traditions.
Picture 1. Chen Songmao. The Mountain. Сanvas, oil. 2007
Simplicity, even some primitivism is there in the picture "The Takeoff" (pic.2). In it, each brush stroke is verified and bold. You can see that each work of the master
Picture 2. Chen Songmao. The Takeoff. Сanvas, oil. 2009
has its own color, which is subject to one of the spectral colors. The artist uses grotesqueness, exaggeration for the sake of expressiveness of the landscape motif.
Picture 3. Zhu Sha. The Hometown Garden.
Canvas, oil. 180 x 180. 2009
The landscapes of another contemporary Chinese artist, Zhu Sha, stand out with their deep artistic content, sophistication and rhythm. According to the artist himself, "he likes the landscape genre, because it helps viewers to know the beauty of the world, as well as to embody the amazing elegance of natural landscapes, which causes the viewer involuntary excitement" [3, P. 60].
The artist makes a lot of life drawings. He depicts the motif from different angles to find a better perspective for
Picture 4. Zhu Sha. Sunset over the Guanin Gorge. Canvas, oil. 150 x 200. 2015
the future work [7, P. 116]. The balance of the composition, its organization and non-triviality is the basis of Zhu Sha's landscape art. He is well able to generalize and stylize natural forms. The artist uses a special painting technique, transforming and generalizing field observations.
Works "The Hometown Garden" (pic.3) and "Sunset over the Guanin Gorge" (pic.4) vividly represent the typical national landscapes, presented from a bird's eye view. Colorful fields, bright flowers, white houses depicted by
Section 4. Theory and history of art ' European Journal of Arts 4 (2021) - ISSN 2310-5666 -
the artist with great love and inspiration. Brush strokes, shapes and colors correspond to the general idea, smoothly and rhythmically coordinated, combined into a single "blooming" monolith. Zhu Sha pays great attention to the expressiveness of strokes, using dots, lines and graphic silhouettes, which are the main elements of his artistic language [7, P. 117]. Pure bright colors make the viewer deeply feel the vitality of nature and the beauty of life. There is a palpable harmony in the master's landscape works, the coexistence of the ideal and the real, which affirms the unique humanistic subtext oftraditional Chinese culture, reveals its deep national roots.
The synthesis of Chinese national painting and abstract European expressionism is the main trend in the development of contemporary Chinese landscape art. This means that in the landscape genre there are features ofboth Chinese and Western style of painting. The combination of these characteristics demonstrates the work of the famous artist - Chen Hesi. The artist was born
Picture 5. Chen Hesi. The Farmhouse. Canvas, oil. 120 x 120. 2014
Most of Chen Hesi's landscape paintings have a square composition, very expressive in shape. The artist himself calls this form a "square pattern". According to him, in this aspect he is inspired by the beauty of the form of ancient Chinese seals [8, P. 69]. For a long time studying the technique of oil painting, Chen Hesi developed his own author's method of composition of paints and solvents, which fill his works with unique textural effects of painting. Thus, it is known that it adds fatty ointments, based on Vaseline, and medicinal alcohol to paints [9, P. 62].
Chen Hesi generalizes objects into exquisite silhouettes, emphasizing and enriching their rhythm with
in October 1953 in Liuyang, Hunan Province, China. He graduated from the Faculty of Oil Painting with the Academy of Fine Arts in Guangzhou.
The paintings are like the fruit of artist's imagination, the embodiment ofhis inner world and mood (pic. 5-8). The artist seeks to combine elements of the real life with fictional images that complement and adorn natural landscapes. The people depicted on the canvas coexist in harmony with nature. By attaching special importance to the landscape, embodying the beauty of the surrounding world, Chen Hesi fills the natural landscape with peace and tranquility. The use of pastoral motives coincides with the national mentality aimed at conducting free leisure of people in nature. On the other hand, a certain romanticism of the works reflects the author's desire for a harmonious way of life in today's increasingly industrialized "noisy" world [4, P. 24]. Trying to idealize the space, to achieve a romantic mood, the artist uses slightly muted pastel tones that flow smoothly into each other.
Picture 6. Chen Hesi. The Vegetable Plot (Garden). Canvas, oil. 80 x 80. 2017
various graphic elements [9, P. 63]. Exquisite linear formations can be traced in the works, which have always been the main component of the Chinese national style [10, P. 114]. Hesi also strives to combine natural and abstract colors of light, so that the colors are distributed by him depending on the figurative subtext of the picture. Red and blue colors often play a major role in paintings, manifesting themselves in the form of color blocks. At the same time, he competently uses gray tones as soft transitions between saturated color planes [8, P. 82]. The main visual means of the artist are the lack of direct lighting, decorative color scheme, flatness, simplicity and
LIU FAN THE LATEST TRENDS IN THE MODERN OIL LANDSCAPE PAINTING OF CHINA
European Journal of Arts 4 (2021)
I PREMIER
Publishing
Section 4. Theory and history of art
ISSN 2310-5666
stylization. Thus, the artist managed to combine the traditions of modernist European art with the traditions of Chinese ink painting.
The Chinese landscape is a bright and distinctive phenomenon that occupies an important place in the modern artistic process. The latest trends in the modern landscape of China mark the birth of stylistic innovations in oil painting. In their works, Chinese artists
reduce each object to the degree of a symbol that promotes the birth of many associations in the audience. Contemporary Chinese artists pay special attention to the technique of artistic expression, synthesizing the visual principles of Eastern and Western painting. Based on the essence of Chinese traditional culture, they use a special flowing painting method with a strong national connotation.
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Picture 7. Chen Hesi. The Noon. Canvas, oil. 120 x 120. 2020
Picture 8. Chen Hesi. The Back Yard. Canvas, oil. 80 x 80. 2012
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sophical understanding of the nature in Zhu Sha's picturesque landscapes // Art Observation. 2021.- No. 7.-P. 116-117).
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Section 4. Theory and history of art - European Journal of Arts 4 (2021) - ISSN 2310-5666 -
Information about the authors
Liu Fan, Graduate Student at the Department of Theory and History ofArt, Kharkov State Academy of Design and Arts, Kharkov, Ukraine
Address: 61023, Kharkov, Ukraine, Design lane, 2 E-mail: [email protected]; Tel.: +38 (098) 43-84-05 ORCID: 0000-0002-4528-1462
ЛЮ ФАНЬ 1
1 Харшвська державна академiя дизайну i мистецтв, (XapKie, Украша)
НОВ1ТН1 ТЕНДЕНЦИ РОЗВИТКУ СУЧАСНОГО ОЛ1ЙНОГО ПЕЙЗАЖУ КИТАЮ
Анотаця
Щль дошдження: розкрити основш тенденци розвитку сучасного олшного пейзажу в Кита!; виявити коло визначних майстрiв пейзажного жанру в Кита!, у творчосп яких поеднаш нацюнальш традици китайського пейзажу та модершстичш шноваци.
Методи дошдження: метод мистецтвознавчого анал1зу, структурно-семантичний метод.
Результати до^дження: визначено основш типолопчш риси в пейзажах олiею Китаю, принципи розвитку пейзажного живопису. Простежеш особливоси пластично! мови китайських пейзажиспв. Розглянутi фiлософськi, нацiональнi, естетичнi уподобання митцiв
Наукова новизна: комплексний аналiз особливостей розвитку китайського пейзажу олiею репрезентуе тенденци розвитку пластично! мови в свгговому живопису на тл динамiчного процесу iнтеграцГi сучасного олшного мистецтва. Особливу увагу в дослгдженнг придГляеться виявленню модернгстичного напряму як сти-лгстично! домгнанти розвитку китайського мистецтва, засновану на синтезг традицгй i новацгй.
Практичне застосування: Отримаш результати можуть бути використанi у подальших дослiдженнях з штори та теорп образотворчого мистецтва, зокрема розвитку олшного пейзажу.
Ключовi слова: китайський пейзажний живопис олiею, китайський нацюнальний пейзаж тушшю, евро-пейський живопис, тенденци, шноваци, Чень Сонгмао, Чжу Ша, Чен Хесi.
1нформац1я про авторш
Лю Фань, аспiрант кафедри теори та штори мистецтв ХаркТвсько! державно! академп дизайну i мистецтв, Харюв, Укра!на
Адреса: 61023, Харюв, Укра!на, Проектний пров., 2 E-mail: [email protected]; Тел.: +38 (098) 43-84-05 ORCID: 0000-0002-4528-1462
ЛЮ ФАНЬ НОВ1ТН1 ТЕНДЕНЦИ РОЗВИТКУ СУЧАСНОГО ОЛ1ЙНОГО ПЕЙЗАЖУ КИТАЮ
