Western influence on guohua in the twentieth century
| schema:name | "Western influence on guohua in the twentieth century" |
| schema:creator | Lightfoot, Sonia |
| schema:author | Lightfoot, Sonia |
| schema:contributor | National Museum of History (Taipei) |
| schema:about | schilderkunst |
| Europese invloeden | |
| inktschilderingen | |
| literati schilderkunst | |
| China | |
| schema:abstract | ""This paper considers how western painting and its techniques were perceived by Chinese artists from the 16th century. It further enquires into the reasons why Chinese art had seemingly lost its vitality and freshness by the end of the 19th century. It takes into the account the arguments put forward in the speeches of Kang Youwei and Cai Yuanpei, members of the new reforming movement, who insisted that any deficiencies could be remedied by strengthening painting with Western art techniques. In order to ascertain whether or not, Western art has influenced guohua over this century, it considers the enduring traits of those artists who were sent to the West or to Japan to study, and in particular how they translated their experiences on their return to China within the art education departments for which they became responsible. It reviews the training of those students who went to the Marxist Leningrad Art School in Russia, as well as those, who were taught in Beijing by the Russian Realist teacher Konstantin Maksimov. It reveals the progressive styles of the artist Lui Shou-kwan as discussed in his correspondence with his overseas agent. Lui copied the works of J.M.W. Turner (1775-1851), and studied the contemporary works of such artists as Matisse, Picasso, Klee and Kandinsky. He was much influenced by the spiritual connotation put upon colours by Kandinsky, which led Lui to paint abstract compositions. This was to bring him fame in Hong Kong, where he was seen to be the leader of the avant-garde. Lui found abstraction to be unsatisfactory, and returned to semi-abstract art, it was his belief that it was in this area that East and West could unite. Lui felt strongly that this should be the way forward for Chinese art to enter the twentieth century. Towards the end of his life a series of paintings entitled 'Zen' were to break new ground. This series was of paintings in terms of a code of symbols, where free abstractions of landscape or plant forms stand for mental elements--the ego, the passions, the free mind in various states of stress of stability. The key to the code had its origin in an essay on the love of the lotus by the Song philosopher Zhou Dunyi (1017-1073). To conclude. The paper argues that contact with Western art has given Chinese painting a frame of reference, which has led artists to reflect upon their own tradition. It discusses the different use of Western colour, and considers the evidence that basic training in drawing from nature is beneficial to artists of any culture. Finally the paper establishes two themes of guohua painted today, modern literati painting based on calligraphic techniques, and 'modern' ink and wash painting, both styles being produced for the world market, and their subsequent Western influence."-- Abstract (page 2-3)."@en |
| schema:identifier | <naaa79bf94a7342028ef96fad1eb30817b1> |
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schema:in |
"chi" |
| "eng" | |
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schema:subject |
<naaa79bf94a7342028ef96fad1eb30817b2> |
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schema:temporal |
"1900-1999" |
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schema:work |
Western influence on guohua in the twentieth century: (with particular reference to the evolution of the style of the painter Lui Shou-kwan as revealed in his letters in the Ashmolean Museum Oxford) = 西方影響󠄄下的二十世紀中國繪畫 : 以畫家陸壽寬的風格發展爲參考例證 |
schema:identifier →
<naaa79bf94a7342028ef96fad1eb30817b1>
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schema:property |
"NL-AmRIJ" |
| schema:value | "324139" |
schema:subjectOf →
<naaa79bf94a7342028ef96fad1eb30817b2>
| schema:text | In English; with abstract also in Chinese. |
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schema:additional |
<http:/ |
Inverse relations
[ .. ] → schema:exampleOfWork → Western influence on guohua in the twentieth century
Western influence on guohua in the twentieth century: (with particular reference to the evolution of the style of the painter Lui Shou-kwan as revealed in his letters in the Ashmolean Museum Oxford) = Xi fang ying xiang xia de er shi shi ji Zhongguo hui hua : yi hua jia Lü Shoukun de feng ge fa zhan wei can kao li zhengschema:ProductModel