쩡판즈(曾梵志) 작품에서 보이는 동서양 혼종성 연구

Abstract

Chinese contemporary art works show Western colors and geometric compositions, while Chinese social satire and critical aspects are reproduced in the subjective part. With the influx of European paintings during the Qing Dynasty (1644-1911), perspective was introduced in Chinese paintings, and music began to accept the concept of polyphony. In the 19th and 20th centuries, it was divided into presentists and traditionalists and eventually followed the concept of pure Yachen (1866-1925), spreading to society a trend to imitate and conform to unknown Western knowledge and culture. In other words, the concept of “Let’s use Western knowledge as a basis for China’s knowledge” changed to a mixed sexual era. Nevertheless, Chinese old customs and ideas remained in art, but as the cultural revolution passed, Western art concepts and philosophy directly influenced the works of art, artists who worked in the 80s and 90s became interested in the international art market. In this paper, we are discussing artists whose Western art and Chinese materials have been mixed and fused since the Cultural Revolution, and among them, Zheng Fanzhi is studying the hybridity that appeared in Chinese modern art. The first and second chapter focuses on the historical background when it was mixed with Western art, and compares and analyzes the hybrid characteristics of Wang Guamgyi, Ai Weiwei, and Yue Minjun and the hybridity of Zeng Fanzhi. In the last chapter, we will analyze the meaning of mask in Francis Bacon and Max Beckmann’s works and Zeng Fanzhi’s mask in his works.