Chinese Art Research Articles

The Spirit and Elements of Malaysian Multiculturalism in Chuah Thean Teng’s Batik Paintings

This paper examines the batik paintings of Chinese artist Chuah Thean Teng in the context of Malaysia’s multicultural society. Batik, an ancient traditional craft in Malaysia, was initially produced on textiles through wax and dyes and is often applied to daily clothing and objects. As such, the motifs and elements of batik paintings are closely related to the local culture and have a high symbolic value. Chuah Thean Teng has improved and developed the batik process into a work of art with aesthetic value. This paper aims to understand the social and cultural climate of the time through a generalised analysis of the results of Chuah Thean Teng to evaluate the artistic elements embedded in the batik works. The paper adopts an art historical research approach, which consists mainly of form and context analysis. The study is descriptive, with data in the form of text and images, including the artworks themselves, publications, books, journals, and other official records. Chuah Thean Teng, a Chinese artist, has inherited and evolved the traditional Malaysian batik art by seeking artistic inspiration in a culturally diverse environment. His work is a hybrid expression, reflecting the exchange and borrowing between cultures. This is in keeping with the historical context of the time and also conveys modern Malaysian art’s inclusiveness, diversity, and richness. As an essential part of contemporary Malaysian art, batik painting is itself a sign of modernity. It is hoped that this study will help to enrich the research and analysis of Malaysian batik painting and, through it, generate interest in batik painting and provide knowledge and methods of interpreting the content of the artwork.

Mutual exchange of art exhibitions between China and the Soviet Union in the mid-twentieth century

This article mainly outlines and explores the art exhibitions held between China and the Soviet Union during the founding of the People's Republic of China. The author examines in detail such aspects of the topic as mutual exchanges of art exhibitions between China and the Soviet Union since the founding of the People's Republic of China. Particular attention is paid to the political background against which the evolution in Chinese art took place, as well as the legacy of Soviet realist art in China in the political context and the interaction of art with politics and state-building. The author emphasizes the positive influence of art exhibitions held by the Soviet Union in China on Chinese art education and the creativity of artists. The main conclusions of this study are that the various exhibitions of Soviet art held in China provided an effective opportunity for Chinese artists to study Soviet realist oil paintings. The emergence of Soviet realism in China also served as an important reference point for the development of Chinese oil painting in the 1950s. The novelty of the study lies in the fact that the author not only analyzed the process of the acceptance and dissemination of Soviet realist art in China, but also examined the beginning and end of artistic exchange between China and the Soviet Union in conjunction with the country's social environment and the political leadership of its leaders.

Talent, Mind and Wisdom: On the Oriental Context in Matisse’s Architectural Works of Art — France Rose of Vence Chapel as an Example

Through the study of Matisse himself to explore the process of the road of art, to understand in the social context of the time, the Eastern high-end art through the loss of cultural relics overseas, greatly influenced a group of modernist masters of art, who through the study of the study of Oriental paintings, porcelains, furniture and other works of art and design, and constantly absorbed and learned from the Oriental mood in their works to express the presentation, so as to influence the influence of their works has been felt for generations to come. A large number of Matisse’s art works have an inevitable potential connection with the spirit of Chinese art, but also as a result of his study and borrowing of traditional Chinese art. Thus, it reminds us that we should create a modern cultural spirit that reflects the significance of the times on the basis of absorbing traditional Chinese culture.

The Changes in The Aesthetic Thoughts of Chinese Artists in Beijing Biennale during the COVID-19 Period

This study explores the transformative journey of Chinese aesthetics amidst the challenges of the COVID-19 pandemic, focusing on the Beijing Biennale as a lens into the shifting paradigms of artistic expression. Before the pandemic, the Biennale emphasized global themes like enriching the world, cultural integration, the Silk Road, memory, and ideal life. However, the outbreak prompted a profound metamorphosis. During the COVID-19 period, the exhibition pivoted toward themes of life reflection, anti-epidemic efforts, and hope, mirroring a broader transformation in Chinese aesthetics. it delves into the evolution from global narratives to localized, human-centered expressions. The pandemic compelled artists to reflect deeply, resulting in works that pondered existential questions and showcased human resilience. Aesthetic expressions shifted from grand global ideals to the immediacy of local life experiences. The study highlights the vital role of hope and solidarity in contemporary Chinese art, portraying them as beacons of light amid the darkness of uncertainty. This research illuminates the profound transformations that have taken place in the artistic landscape.

中国现当代美术教育思想的传承和发展

Aesthetic education is an important part of the cultural quality of a nation and a country, and to some extent determines the overall aesthetic level of the people. Therefore, from this perspective, the requirements for the development of art education ideology and planning are particularly important, and also put forward new requirements. With the rapid development of our social and economic ability and level, people pay more and more attention to the cultivation of personal aesthetic cultivation, as well as to cultivate and enhance the next generation's aesthetic feeling and cognition through fine arts education. Therefore, the development of fine arts education as a whole presents a trend of gradual integration and diversification. It is very important and necessary for the inheritance and development of Chinese art education thoughts to train the next generation to have better art appreciation and aesthetic ability, and it is also a great challenge for the inheritance and development of art education thoughts. From the perspective of the necessity of inheriting and developing China's modern and contemporary art education thoughts, this paper analyzes China's modern and contemporary art education thoughts on the basis of the study of the history of art education. At the same time, it expounds the main inheritance and development trajectory of Chinese art education thoughts in different periods, and explores and studies some problems existing in the current art education mode. In order to find the shortcomings in the implementation of fine art education, constantly summarize and explore the ideological origin of fine art education to keep pace with The Times, and gradually explore a suitable for the development of modern and contemporary fine art education under the environment.

The evolution of the method of ‘oral and heart-to-heart teaching’ in contemporary times: Based on the observation of Shandong opera classroom

As the main way of inheriting traditional Chinese art, oral and heart-to-heart teaching (OAHTHT) has survived in all kinds of art inheritance activities. However, the existing literature fails to provide a clear explanation of the applicability and evolution of OAHTHT in contemporary school music classrooms. This article reports on a project of ‘local opera in the classroom’ carried out in primary and secondary schools in six regions of Shandong Province from 2017 to 2020. It attempts to research the presentation and evolution of OAHTHT in contemporary music classrooms through classroom observation and semi-structured interviews with teachers and artists participating in the project. Findings show that the change in OAHTHT is not only reflected in the differences of material media, teaching space and spiritual space, but also in the relationship between ‘oral instruction’ and ‘heart to heart teaching’(Xin Chuan): from the past gradual relationship from skill to mind to parallel relationship of mutual subjects. Meanwhile, under the new OAHTHT inheritance mode, a new form of campus opera performance with children as the principal part is taking shape.

Investigate the Impact of the Current Watercolour Painting Market Situation on the Development of the Watercolour Painting Market in China. Market Environment as a Mediator

Purpose: The purpose of this study is to investigate the impact of the current watercolour painting market situation in China on the development of the watercolour painting market in China. In addition, this study investigates the role of the watercolour painting market environment in China as a moderating variable in the relationship between the current state of the watercolour painting market in China and its future development. Theoretical framework: Contemporary Chinese art and culture exist in a society that is open and pluralistic. Through the efforts of several generations, they have created not only a magnitude but also a vast market. In a technologically based society, technologically based painting is on the verge of extinction. The construction of cultural artistic conception and character is a novel topic in the art education and instruction of contemporary Chinese watercolour painting. Design/Methodology/Approach: A total of 495 respondents participated in the survey comprised of 110 watercolour artist collectors, 220 watercolour paintings and 165 lectors and business intermediaries 165. This study was a cross-sectional study where the data collection period is from August to October 2021. A survey with a closed-ended and self-administered format was conducted in order to collect data. The questionnaire is divided into two sections, Smart PLS was used to analyse the data and identify any significant relationships between the variables. There was a correlation between being a colour artist and collecting watercolour paintings. Findings: This study focuses on watercolour painters, watercolour collectors, and commercial intermediaries., according to the findings. This suggests that artists are more likely than non-artists to collect watercolour paintings. In addition, the study revealed that business intermediaries play a crucial role in facilitating the sale of these paintings. The study revealed that watercolour painting is a popular art form among both artists and collectors. Watercolour paintings have been a popular art form for centuries, and this study confirms that their popularity remains strong among both artists and collectors. The delicate beauty of watercolours, with their translucent washes of colour and soft edges, is particularly appealing to those who appreciate the subtleties of art. Research, practical & social implications: This study found that watercolour paintings are highly valued by business intermediaries, who recognize their potential as investments. In fact, many galleries and auction houses specialize in selling watercolours, and the market for these works continues to grow. Originality/Value: it is important to note that not all watercolour paintings are created equal - some are more highly prized than others based on factors such as the artist's reputation, the quality of the materials used, and the subject matter depicted. Overall, this study underscores the enduring appeal of watercolour paintings and their continued relevance in today's art world. This research provides valuable insights into the relationship between colour artists, collections of watercolour paintings, and art industry intermediaries.

Exploring the Wei-Jin Period: Aesthetic Transformations, Metaphysical Discourses, and the Influence on Chinese Art and Culture

During the Wei and Jin Dynasties in Chinese history, political turmoil, ideological expansion, and significant societal and cultural transformations occurred. This article investigates this period's impact on art, literature, social structure, aesthetics, and metaphysical discourse. In spite of the political upheaval, the period fostered intellectual and spiritual liberty, resulting in a flourishing of artistic and literary expression. Existence and universe-related philosophical concerns have influenced the creation of literature and art and contributed to a culturally rich environment. During this period, social structures shifted, and new philosophies emphasized personal spirituality and introspection. At that time, aesthetics were influenced by metaphysical ideas and melancholy emotions, resulting in a distinct artistic style. During the Wei and Jin Dynasties, wisdom, self-cultivation, and the pursuit of excellence were also regarded as essential aesthetic components. This study sheds light on the transitional Wei-Jin period and its enduring influence on Chinese art and culture.

The wedding complex: Chinese queer performance art as social activism

Through public, intentional and interventionist displays of the queer body, queer Chinese artists have used performance art for identity expression, community building and social activism. This article focuses on some of these queer performance artworks, those that engage with the theme of weddings; that is, performance artworks that draw on and critique the social conventions of wedding ceremonies. Focusing on five case studies – the lesbian artist duo Shi Tou and Ming Ming’s photography and installation about queer women’s intimacy; queer filmmakers Fan Popo and David Zheng’s 2009 film New Beijing, New Marriage, a documentary based on a same-sex wedding performance in central Beijing; queer feminist filmmaker He Xiaopei’s performance artwork and films; the Young Feminist Activist Group’s 2012 public performance Bloody Brides to protest domestic violence against women, and the queer artist duo Cheng Yumo and Huang Ziwei’s Grand Gay Wedding performance in Zurich in 2022 – this article demonstrates that the wedding format has been used by Chinese queer artists, performers and activists in creative, innovative and critical ways; it gives new meanings to traditional wedding practices and helps rethink how queerness can relate to established social institutions and conventions in a global context. This article extends existing scholarship on performance art in the 1980s and 1990s which was predominantly male-dominated, heteronormative and elitist avant-garde art practice; it also highlights the role of performance art in contemporary China’s feminist and LGBTQ+ social movements and in articulating gender and sexual politics.

Yang Zhichao’s performance art at the margins: Within the Fourth Ring Road (1999) and the Chinese contemporary

This article explores the theme of marginality in the art of Yang Zhichao, a critically and socially engaged experimental artist who has been active in China since the mid-1980s. Yang’s oeuvre – which includes performance artworks, drawings and installations – revolves around the issue of sociocultural marginality in reform-era society, from the condition of migrant workers, beggars and psychiatric patients to the borderlands of Chinese civilization and the condition of the avant-garde artist. Drawing also on Chinese art criticism and two interviews with the artist, this study examines in particular the performance Within the Fourth Ring Road (1999) through its photographic and literary documentation. While writing on Yang Zhichao’s art has largely focused on his most extreme performances of ‘body art’ such as Planting Grass (2000), the artwork at the centre of this study highlights an anti-spectacular approach to performance art and reflects Yang’s stated belief in the importance of placing oneself in the circumstances of marginalized people in order to move beyond a voyeuristic gaze. Through a critical analysis of said approach the article reveals a quality that pervades Yang Zhichao’s multi-disciplinary artistic career – that is, its ‘contemporariness’, in Giorgio Agamben’s sense as a focus on the darkest, most emblematic aspects of one’s society and time.

Contemporary ceramic art of China: a look from the perspective of the art market

The object of this research is contemporary Chinese art in the context of the latest trends in the development of the global and national art market. The subject of the study is the problem of underestimation of modern ceramic art in China and its potential from the standpoint of the art market. The history of the issue is considered, the analysis of the main directions of research development in this subject area is carried out. In addition, the article clarifies the existing concept of "modern ceramic art" in China. Special attention is paid to the analysis of the most significant modern objects of Chinese ceramics presented in the domestic art market of the country. The features of the artistic originality of the masters Li Jiusheng, Wang Silyan, Zhang Songmao, Guo Aihe are revealed. The scientific novelty of the research is connected with the development of ideas about the modern ceramic art of China, its role in the modern art market, both at the national and international levels. For the first time, the criteria for the demand for modern porcelain are revealed; the idea is stated that the problem of collecting modern Chinese ceramics remains on the periphery of scientific discourse. A special contribution is the establishment and justification of the artistic value of a number of works carried out for the first time in science, which were sold at various auctions for fabulous money. The main conclusions of the study are the following. Currently, the development of the art market indicates that experts are beginning to realize the artistic value of modern Chinese ceramics art. The greatest interest among collectors is aroused by works in the spirit of "ceramic painting" with the use of modern technologies that allow expanding the expressive possibilities of painting on porcelain. The boom in collecting modern Chinese porcelain, observed since the beginning of the XXI century, testifies to the high level of artistic execution of objects of modern ceramic art in China, as well as such qualities as innovation and non-standardness in terms of choosing themes, visual effects, expression of the author's idea, rethinking academic traditions.

The Changes in The Aesthetic Thoughts of Chinese Artists in Shanghai Biennale during The COVID-19 Period

The global COVID-19 pandemic has left an indelible mark on all aspects of human existence, including the realm of art and aesthetics. This study delves into the dynamic shifts in aesthetic thoughts among Chinese artists participating in the prestigious Shanghai Biennale during the COVID-19 period. Through a comprehensive analysis of artworks, themes, and creative approaches, this research illuminates the profound transformations that have taken place in the artistic landscape.

MCCFNet: Multi-channel Color Fusion Network For Cognitive Classification of Traditional Chinese Paintings

The computational modeling and analysis of traditional Chinese painting rely heavily on cognitive classification based on visual perception. This approach is crucial for understanding and identifying artworks created by different artists. However, the effective integration of visual perception into artificial intelligence (AI) models remains largely unexplored. Additionally, the classification research of Chinese painting faces certain challenges, such as insufficient investigation into the specific characteristics of painting images for author classification and recognition. To address these issues, we propose a novel framework called multi-channel color fusion network (MCCFNet), which aims to extract visual features from diverse color perspectives. By considering multiple color channels, MCCFNet enhances the ability of AI models to capture intricate details and nuances present in Chinese painting. To improve the performance of the DenseNet model, we introduce a regional weighted pooling (RWP) strategy specifically designed for the DenseNet169 architecture. This strategy enhances the extraction of highly discriminative features. In our experimental evaluation, we comprehensively compared the performance of our proposed MCCFNet model against six state-of-the-art models. The comparison was conducted on a dataset consisting of 2436 TCP samples, derived from the works of 10 renowned Chinese artists. The evaluation metrics employed for performance assessment were Top-1 Accuracy and the area under the curve (AUC). The experimental results have shown that our proposed MCCFNet model significantly outperform all other benchmarking methods with the highest classification accuracy of 98.68%. Meanwhile, the classification accuracy of any deep learning models on TCP can be much improved when adopting our proposed framework.

The Image of the City in Chinese Cultural Tradition and Visual Practice: from the Middle Ages to the Early Modern Period

The article examines the problem of the artistic evolution of the image of the city in Chinese fine art. The focus of the authors’ attention is the study of the main stages of the development of the urban landscape genre. The purpose of the article is the analysis of the main stages of the development of the urban landscape genre in Chinese art, as well as the study of its structural formalization and the formation of the repertoire from the Middle Ages to the early modern period. The subject of the research is Chinese art history discourse. The works of Chinese fine art of historical periods were used. The authors found out that the development of the urban landscape genre is connected with the general evolution of the Chinese cultural tradition and its visual forms. They are a constant factor influencing the formation of visual tradition. The article defines two stages of development of the urban landscape genre paradigm. The first continues from the time of the emergence of permanent pictorial forms (X century). Later, during the period of the Song dynasty (XII–XIII centuries) and the period of the Ming dynasty (XIV–XVII centuries), visual culture involved the urban landscape and urban everyday practices in the general artistic space of painting. In the context of the evolution of art during the Qing dynasty (XVII–XIX centuries), the urban landscape is represented for the first time with the help of genre features. According to the authors, these signs should be presented in the form of a combination of three components: 1) urban architectural landscape; 2) representations of typical models of urban life; 3) reproduction of typical city "cultural heroes". The authors prove that the evolution of the urban landscape genre at various stages of development is connected with the processes of self-awareness of Chinese art and the determination of the forms of its identity.

Exploring the Painting Styles of Malaysian Chinese Artists after the National Cultural Congress

Exploring the Painting Styles of Malaysian Chinese Artists after the National Cultural Congress

The Evolution, Characteristics, and Aesthetic Expression of Han Dynasty Sculptures: Exploring the Artistic Achievements of Ancient China

This study explores the development, traits, methods, and philosophies of Han sculptural works throughout Chinese history. Han dynasty sculptures are exceptional works of art due to their unusual ceramic figurines, stone creature sculptures, and pictorial stone designs. The article explores the evolution of art across time, centering on the Han dynasty and its emphasis on functional sculptures. Cultural influences such as the mixing of Chu and Western Region art via the Silk Road are discussed how they influenced Han Dynasty sculptures. The study also explores the stories told via the sculptures of the Han era, focusing on themes of life, myth, and masculinity. With an emphasis on stone carving and a wide range of expressive methods, this article examines the creative expressions and aesthetic principles at work in sculptures from the Han Dynasty. The relevance of sculptures from the Han Dynasty to the evolution of ancient Chinese art is discussed, with examples highlighting the sculptures' dynamic life and creative quality.

Study On Decorative Art of Greenbelt Pastel Lotus Embossed Wuzi Dengke Bottle In Qing Dynasty

China is a country with a long history of producing ceramics, leaving many exquisite and precious ceramic artworks. The ceramic involved in this paper is one of them. From the perspective of iconology, this study studies the Qing Dynasty porcelain “Greenbelt Pastel Lotus Embossed Wuzi Dengke Bottle” (GPLEWDB) through specific image analysis, including the form characteristics and symbolic meaning, historical background, and other contents of ceramic decoration. Then, according to the historical data, analyze the formation of the ceramic decorative art of social and cultural factors. This study attempts to change the traditional research methods of Chinese art history, in the form of case analysis, ceramic decorative elements of multi-level image analysis, to achieve a more in-depth study of ceramic cases. The study on the form and symbol of decorative patterns of GPLEWDB is helpful to link ceramic art research with ancient Chinese traditional culture, analyze the relationship between them, expand the perspective of traditional research, and promote the application of interdisciplinary research in ceramic research.

Chinese Millets: native soil, the party–state, and art in contemporary China

Ever since Jean-François Millet (1814–75) was introduced to China in the 1920s through translations, Chinese artists’ fascination with him has resulted more from his life story than from the poor reproductions of his artworks. Millet’s focus on the imagery of the peasantry and his purported identification with the peasant made him a unique figure in the rise of a discourse on native soil, which conflates peasants, the land, the Communist revolution, and a distinctive Chineseness in art. This discourse first took form during the War of Resistance against Japan (1937–45) and continues to thrive in China today. This article examines the growing list of artists—from the well-known masters Gu Yuan (1919–96) and Luo Zhongli (1948–) to lesser-known artists whose professional work was supported by state painting academies and teaching institutions—who have been named the “Chinese Millets.” I propose that “Millet” continues to be effective as a trope in the discussion and imagination of art in China today because his life story provides multiple thrusts—the rapport with peasants, the simplicity and nobility of an artist’s character, an unflinching insistence on one’s own style in opposition to more fashionable trends—in support of a vague conviction of the vitalist force of the native soil. This simultaneously eases Chinese artists’ anxiety over their distinction in the international contemporary art world and echoes the civilizational nationalism increasingly promoted by the party state. Foregrounding the persistent phenomenon of likening to Millet in art discourse in China, this study reveals the challenges and dilemmas of an art world that simultaneously strives to rise in the global order and manages to work with an authoritarian state that both promises generous patronage and demands cooperation.

Popular Chinese Fonts: The Role of Minimalism, the Influence of Zen and the Bauhaus School

ABSTRACT The purpose of this article is to reveal the distinctive features of calligraphic art developing under the influence of Chinese minimalism and Ze art, using the example of the artworks of four Chinese artists (Zhang Huan, Li Zuo, Gu Yingzhi, Zhang Baohuang) and one Japanese artist (Yamada Reirin). The study found that the art of calligraphy follows several basic rules, including a strict stroke order and sequence, with each character fitting into a square shape. The influence of Zen Buddhism manifests in the creation of distinctive images (cyclical circle, trance state of monks) in combination with traditional writing styles. The geometricity of Chinese characters is also widely used in electronic fonts and graphic symbols that encode characters. The data obtained can supplement the research dedicated to the investigation of the key features of Chinese Zen calligraphy and their influence on the modern fonts containing the elements of minimalism and conceptual art.

Policy transfer as a driver of paradigm change? Lessons from a partnership for “eco‐city” development in urban China

AbstractThis article analyses the impacts of an international cooperation project in the field of “eco‐city” development in China, using a policy transfer perspective. It explores the relationship between policy transfers and paradigm shifts and discussing the thesis of a “Chinese art” of policy transfers, according to which Chinese policymakers operate a form of cherry‐picking that prefers technical recommendations over policy or procedural recommendations and is dictated by “national self‐interest.” Based on a longitudinal study of the transfer of a renewal paradigm to a Chinese city, Yangzhou, the study shows that the transfer resulted in significant policy change, going beyond technical aspects. Therefore, the thesis of “Chinese art” is not confirmed. However, a full‐fledged paradigm shift was not observable as elements of the old paradigm are still present. Policy transfers can thus result in paradigm shifts, but their institutionalization is likely to be slow and gradual.