Culture and cultures
Go S.B. —
The Infuence of the Soviet Art of the 1950 - 1960s on the Development of Chinese Fine Arts: Receptions and Traditions of Chinese Art Life
// Culture and Art. – 2017. – ¹ 2.
– P. 1 - 5.
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Review: The article is devoted to some important aspects of the development of Chinese realistic school of arts in the second half of the 20th century (until 1990s). The author of the article analyzes such terms as 'modern art', 'sixtiers', 'country-side realism', 'scar painting' and their associated realities. The synthesis of the Eastern and Russian beginnings in fien arts and cultural dialogue with all further metamorphoses played an important role in the development of Chinese modern art. Realism was quite typical for Chinese fine art in the second half of the XXth century. According to the author, the nature and peculiarities of the realistic trend was defined by Russian and Soviet realism school. The infulence of great Russian artists such as Kramskoi, Repin, Surikov and others on the fine art of Chinese artists is obvious and so is the role of Pavel Chistyakov's approach to teaching painting. The latter served as the basis for teaching fine arts in China. Maximov's school was also a great contributino to the development of Chinese realism in painting. The principles of teaching fine arts at PRC's art schools. A lot of Chinese realists studied at Maximov's studio. The end of the 1970s and beginning of the 1980s also signified the end of the 'sixtiers' age who divided into 'Westerners' and 'Pochvennists'. In 1990 Westerners celebrated their victory in Russia while Pochvenists cried about their ideals being ruined, however, none of those movements played an important role any more. It appears that the Chinese movement of 'scar painting' with its sadness about vain sacrifice and lost illusions and desire to heal these wounds as well as the 'country-side realism' in many ways resembled the dieas of the sixtiers of the 1980s - 1990s even though they had their own historical and national peculiarities. On the one hand, these movements are associated with the early stage of 'healing' of Chinese culture (M. Neglinskaya's expression) and Chinese 'thaw' in general, on the other hand, there was criticial attitude not only to the preceding 'cultural revolution' but Chinese heritage in general. Finally, the aforesaid movements are often described as sentimental and returning people to eternal values. The pain from losses was conditioned by the events of the cultural revolution and events of the XXth century experienced by Chinese people in general while there were still peasants, love for the country-side, respect for a village worker typical for many Chinese 'traditional' artists. Thus, there are all reasons to speak about the important influence of the Russian-Soviet and European art school as well as the overall cultural stituation in the world on the development of Chinese culture in general and realism in painting of the second half of the XXth century in particular.
Keywords: artists, China, school, realistic school, realism, fine art, realistic painting, master, pictures, creative
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