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«Man and Culture» (18+)
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¹ 2, 2020
Published since
2012 year
Frequency
Once every two months
ISSN
2409-8744
Registered in Roscomnadzor
17.12.2014
Registration number
ÝË ¹ ÔÑ 77 - 60176

The Journal "×åëîâåê è êóëüòóðà " had ISSN 2306-1618 and was previously called "NB: Cultures and Arts" until December 1st, 2014.

This issue is currently being formed. All articles presented on this page have already been included in this issue, are considered published, and will remain unchanged in the final version of the issue along with other metadata of the articles.
Founder: Danilenko Vasiliy Ivanovich, w.danilenko@nbpublish.com
Main editor: Azarova Valentina Vladimirovna, Doctor of Art History, azarova_v.v@inbox.ru
Contents
Fine arts
P. 1 - 13
Contents details
Fine arts
Reference:
Wang J. — Works of the artist Zhang Xiaogang in the dialogue of traditions of Western European and Chinese painting // Man and Culture. – 2020. – ¹ 2. – P. 1 - 13. DOI: 10.25136/2409-8744.2020.2.31891 URL: https://en. nbpublish.com/library_read_article.php?id=31891
Creative Commons License This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License.
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Review: This article examines the artworks of Zhang Xiaogang as a prominent representative of the modern Chinese painting, peculiarities of his mastery formed in different periods of his creative path under the dual influence of Chinese and Western painting. Transformation and evolution of painting concepts and formal artistic means, claimed in the painter’s “Bloodline-Big Family” series, demonstrate how the “own historical memory” forms new expressive forms of painting. The author compares the interaction of forms and languages in the Western and Chinese painting, as well as analyzes characteristics of the structure of brush strokes of the painter in different periods for showing the formation of the inner spiritual essence. It proves that the clash of concepts of the Western and Chinese painting generated new artistic phenomena, which represent a result of assimilation of painting concepts and “localization” of formal language. The mutual influence of two cultures lead to origination of multiple ideas of plasticity and artistic forms. China has entered the period of “non-modernism”.
Keywords: visual symbol, photography, political pop art, conceptual art, western modernist painting, classical western european painting, traditional chinese painting, contemporary art of China, cynical realism, Zhang Xiaogang
References (transliterated):
温鹏，（Ven Pen）中国画中天人合一的道家美学视角. (Tochka zreniya daosskoy estetiki edinstva cheloveka i prirody v kitayskoy zhivopisi)// 大众文艺. – 2016. – ¹ 14. – P. 61.
张晓刚创作早期 (Rannie tvoreniya Chzhan Syaogana) [Elektronnyy resurs]: http://news.99ys.com/news/2019/0313/25_214838_1.shtml (data obrashcheniya – 09.10.2019).
黄专 (Khuan Chzhuan'). 张晓刚 — 记忆的迷宫 (Chzhan Syaogan – labirint pamyati) [Elektronnyy resurs]: https://news.artron.net/20160715/n851177_.html (data obrashcheniya-09.09.2019).
张晓刚：艺术是一种信仰 (Chzhan Syaogan: iskusstvo eto vera) [Elektronnyy resurs]: http://art.ifeng.com/2015/1021/2567954.shtml (data obrashcheniya – 18.09.2019).
王建疆 (Van Tszyan'tszyan). “别
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