Традиції європейського реалістичного мистецтва у китайському жи-вописі ХХ – початку ХХІ ст.

Abstract

Дисертація на здобуття наукового ступеня кандидата мистецтвознавства за спеціальністю 17.00.05 – образотворче мистецтво. – Національна академія образот-ворчого мистецтва і архітектури, Київ, 2019. У праці досліджується китайський олійний живопис від ранніх етапів станов-лення до кінця ХХ – початку ХХІ століття. Розкриваючи сутність впливу традицій європейського реалістичного мистецт-ва на китайський живопис, задля розкриття закономірностей процесу трансформації мистецтва Китаю у ХХ – початку ХХІ століть, у праці проаналізовані наявні літера-турні джерела, що стосуються обраної проблематики, внаслідок чого подається х а-рактеристика культурно-історичних передумов виникнення олійного живопису в Китаї; простежується роль європейських впливів на трансформацію концепцій і по-шук художніх форм у китайському живописі від ранніх етапів його становлення до початку діяльності художніх вишів; на знакових прикладах показані ключові осо б-ливості трансформацій в китайському олійному живописі після 1949 року, розкр и-вається їхнє значення для подальшого становлення мистецтва Китаю; аналізуються особливості художніх процесів кінця ХХ – початку ХХІ століття у китайському олійному живописі, наочно продемонстровані подібності та відмінності перетворень, що відбулися в періоди «культурної революції» і початку політики реформ та від к-ритості; обґрунтовуються виявлені головні тенденції появи і становлення стильових особливостей, притаманних сучасному китайському живописові; досліджується і систематизується жанрове розмаїття творчості китайських художників ХХ – початку ХХІ століть; визначаються техніки, технології, матеріали, що використовувалися в китайському живописі досліджуваного періоду, простежується взаємозв’язок між впровадженням нового інструментарію в роботу художників і зовнішніми впливами на мистецтво Китаю. The study examines Chinese oil painting from the early stages of formation to the end of the XX — the beginning of the XXI century. Despite the constant interest of art historians and scientists in the question of oil painting of China, it remains insufficiently stu died. The need for a generalization study on this topic is urgent in Eastern European countries, which in the process of internal transformation in the political, social and cultural spheres make the most of their efforts to study their own arts history, while the world experience, in particular Chinese one, is very important for the formation of the national art science science. To clarify the essence of the influence of the European realistic art traditions on Chinese painting, in order to reveal the rules of the transformation of Chinese art in the XXth - the beginning of the XXIst century the dissertation research includes the following parts: analysis of the published sources on the chosen subject, which resulted in compr ehensive description of the cultural and historical background of the emergence of oil painting in China; revealing of the role of European influences on the transformation of concepts and the search for artistic forms in Chinese painting from the early stages of its emergence to the establishing of artistic higher education institutions; the discovery of key features of the transformations in Chinese oil p ainting after 1949 by the most illustrative examples, the disclosure of significance of these features for the further development of Chinese art; the analysis of peculiarities of artistic processes in the late XXth — the beginning XXIst century in Chinese oil painting, demonstration of the similarities and diffe rences of the transformations that took place during the periods of the Cultural Revolution and the beginning of the reform and openness period; substantiation of the main trends found in the emergence and development of the stylistic peculiarities inherent in contemporary Chinese painting; research and systematization of the genre variety of the work of Chinese artists of the XXth - the early XXIst century; identification of techniques, tec hnologies, materials used in Chinese painting of the studied period, tracing of the relatio nship between the introduction of new tools into the artist’s practice and the external infl uences on Chinese art. The dissertation is a comprehensive detailed study of the influence of European art traditions on the Chinese ones, given that new persons, facts, documentary materials were introduced into scientific discourse, and their influence on the painting of China of the studied period was evidences. The work of the artists who went to study abroad at the beginning of the twentieth century to develop and raise the cultural level of their homeland is explored in this thesis Finding the new artistic styles, examples of western painting, ado ption of advanced Western technologies and ideas became for old China the necessary steps in its struggle to keep pace with the progress in the global artistic culture. The important role of the emergence of artistic educational institutions for establishment of modern Ch inese art is described in the thesis. Both negative and positive factors of the influence of Soviet art on Chinese art have been analyzed by the examples of creativity of artists and educational activities of professors, those from China and invitees from the USSR. The advantages of the Soviet model of academic artistic education for the formation of Chinese oil painting school have also been revealed. The influence of the above model on the development of Chinese art in general has been analyzed. The peculiarities of the Chinese variant of socialist realism have been studied and reviewed in the thesis. The changes in techniques and stylistics of oil painting during the period of the Cu ltural Revolution are revealed. A striking feature of that period was the new artistic i deal, the romanticism and heroization of both the communist elite and ordinary people in the plot of the class struggle, the construction of a new communist society, etc. First of all, it was the result of political pressure, which led to the disfigured beauty and nobility in the pictures, and rather monotonous scenes and techniques. The main phenomena of the beginning of the reform and openness period have been researched in accordance with the proposed typology: the period of "Scar art" and the emergence of local art succeeded by the emergence of neoclassicism. It is noted that the main motive of "Scar Art" was a drama of reviewing and changing values, and the resulting condemnation. The "Scar Art" and "local art" period had been followed by the eme rgence of neoclassicism. The so-called "conceptual art" had emerged and quickly became the mainstream. The works of Chinese neoclassical painting, as well as many styles prior to it, are also full of Chinese cultural features, or are created regarding them. It has been found that thanks to that the realistic painting had gained a general public recognition again.