Abstract
The article is devoted to the problem of the development of Chinese painting in the conditions of social and cultural transformations of the period of the Republic of China, reveals the internal prerequisites and the influence of contacts with Western culture on the emergence of new aesthetic concepts and painting techniques. The assimilation of Western aesthetic concepts was complicated by the fact that Western and traditional Chinese aesthetics are based on different views on harmony, which also became the object of study in this article. Acquaintance with Western concepts caused the emergence and then gradual convergence of cultural oppositions: tradition and modernity, local and foreign. Based on the analysis of reformist artists Li Tifu, Guan Liang, Xu Beihong and others, it is shown how the system of art education, painting techniques and perception of painting have changed. It is concluded that the painting of the Republic of China showed not only a change in visual means, but, more importantly, a change in the very perception of visual images in painting.
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