Contemporary Chinese Art Research Articles

‘Mapping’ China’s Art Industry: Understanding Contemporary China Through Qiu Zhijie’s Maps as a Medium of Cultural Relations

Deeply ingrained in the fabric of Chinese society, calligraphy originated as an ancient art form and is known as the chief of all traditional arts in China. In the current artistic context of the People’s Republic of China (PRC), calligraphy has merged with contemporary art forms to reflect the dynamic changes and realities of the country. Addressing gaps in academic literature focusing on China’s soft power and cultural diplomacy, this paper focuses on cultural relations to develop a people-centered pathway that flows “organically” and enables the understanding of current-day China. Inspired by Anne Marie-Slaughter’s conceptualization of a “web” of networks, this paper employs a case study analysis of specific contemporary artworks by Chinese contemporary artist Qiu Zhijie. Indeed, this paper finds that Qiu’s maps reflect nuances of contemporary Chinese society, showcasing the intricate relationship between calligraphy, contemporary Chinese art forms, and Chinese culture and society. Further, due to the unique combination of Chinese characters and English text, woven together through cartography and Chinese calligraphy, Qiu’s maps provide international audiences with basic tools for understanding cross-cultural nuances and contemporary realities. In the context of international relations, Qiu’s maps may act as a medium for improving the international community’s understanding of current-day China.

Imperatives Under Chinese Monochrome Art: Revisiting “Magiciens de la Terre”

“Les Magiciens de la Terre” has long been hailed as the first international contemporary art exhibition including both artists from Europe, Africa, Tibet, China, and other non-western places. Yang Jiechang, Gu Dexin, and Huang Yong Ping were the only three Chinese artists to participate in this exhibition. They made their debuts in front of unfamiliar overseas audiences, in which their art practices were rearranged, and Yang started his familiar series of “100 Layers of Ink.” My paper shifts the attention away from the single monochrome artwork of Yang’s 100 Layers of Ink at the Smart Museum, recenters it on the original context of the inception of this series at “Les Magiciens de la Terre,” and examines the general imperatives of those three artists’ first debuts — “distinct originality” and “being well-prepared.” The heightening emphasis on originality had already surfaced on the contemporary Chinese art scene and culminated in the curatorial plan of the exhibition’s curator, Jean-Hubert Martin. On the other hand, because of the importance of the debuts, “being well-prepared” underlined every aspect of their art-making for the exhibition, including enlarging scales, complicating the artistic concepts, and increasing working time. All those factors contributed to the sudden shifts in their art practices and shed new light on the imperatives under Yang’s monochrome art and his reflections on colors.

Retraction Note: Chinese contemporary art teachers’ professional development in the 20th and 21st centuries within the multicultural framework

Retraction Note: Chinese contemporary art teachers’ professional development in the 20th and 21st centuries within the multicultural framework

Short videos of Great Artists on the Douyin platform: Content Analysis and Value

Modern Chinese artists differ significantly in terms of their dissemination power. Some famous artists' short videos can receive hundreds of millions of likes, while others can only get sporadic likes. Xu Beihong, a Chinese modern painter and art educator, played a pivotal role in the history of contemporary Chinese art. The study aim is to explore the common value characteristics of great artists' short videos and fill the research gap by analysing the content, subject matter, and presentation forms related to the artist. Based on the theory of art economics, the study takes the top 100 liked short videos of Xu Beihong on the Douyin platform as the research object. First, the accounts that posted these short videos were analysed. Second, content analysis is used to categorise the content of these short videos. Finally, the value behind the data was assessed. Research has found that many short video accounts featuring artists include commercial windows, and many of these short video contents involve commercial aspects. Favourable evaluations of artists are often associated with higher commercial value of the artworks. The results indicate that audience participation and interaction with artworks offer considerable value on short video platforms. Artworks presented through these new channels provide aesthetic and experiential value. The commercialisation of these artworks represents the value derived from audience behaviour and engagement.

The Artistic Characteristics of Chinese Impressionist Painter Wu Guanzhong

This study aims to explore the artistic characteristics of Chinese Impressionist painter Wu Guanzhong. By combing through Wu Guanzhong's artistic experience, it analyzes the evolution of his painting style and its unique expression in the fusion of Chinese and Western art. The study provides an in-depth analysis of Wu Guanzhong's works in terms of subject matter, materials, composition, color, brushwork and other aspects, revealing his unique artistic language and his contribution to the development of modern Chinese painting. At the same time, this study combines literature review and case studies to explore the impact of Wu Guanzhong's art on contemporary Chinese art education, and suggests how to inherit and innovate Chinese national art in the contemporary context. This study provides new perspectives for understanding Wu Guanzhong's artistic achievements and his position in cultural exchanges, and offers useful references for the future development of Chinese art.

A Changing Representation: “Personal Writing” in Artistic Intervention in Chinese Rural Communities

As socially engaged art has played a vibrant role in responding to the crisis of the postmodernist art regime, the current post-Occupy condition has manifested itself in artistic interventions in rural China. In contrast to social writing, which encompasses street art, designers going to the countryside, and industrial empowerment to construct “good cultural governance” or “good cultural taste,” the term personal writing as used here describes a type of avant-garde intervention that has sparked interest in vernacular communities. It provides a socially minded critique of art production as bifurcated from the remaking of everyday social relations and subjectivities, political and cultural possibilities, and the rural Chinese future. Grounded in a contextual analysis of the social turn in Chinese contemporary art and the lingering “rural problem” under post-socialism, this article takes artist Mao Chenyu's Paddy Film project as an example of personal writing and proposes this artist's activisms at Dongting Lake as a specific intervening field, visual ethnography as a method, paddy rice as a distinctive “thing,” and archival practices as a deconstructive pathway that together have promoted the emergence of a resistance narrative in artistic intervention in Chinese rural communities.

Research on the Development form of Chinese Contemporary Oil Painting in Recent 30 Years

This paper analyzes and discusses the development form of Chinese contemporary oil painting in the past 30 years, and thinks that in the past 30 years, after the baptism of Western cultural thoughts, postmodern thoughts have been deeply rooted in the hearts of Chinese people. Under this background, Western modern culture has brought rich topics to Chinese oil painting, and Chinese oil painting language is also transforming under the impact of Western artistic thoughts. This paper also summarizes the two aspects of Chinese contemporary art criticism during the period of 1990-2020. This paper holds that only by accurately grasping the characteristics of The Times and starting from the simple life can contemporary Chinese oil painting see the truth, goodness and beauty of art from life, and only by returning to the real "contemporary" can it absorb the essence from it and have enduring vitality.

L’« autre » dans les œuvres des artistes contemporains chinois en France : Chen Zhen et Huang Yongping

temp: Sinologist Gregory B. Lee stated in his 2018 book China imagined that, "For several centuries now, European and American sinologists and novelists have imagined their own China, and have narrated and imposed China according to this imaginary. Until now, this Western imaginary of China has been globally dominant.[1] By mimicry, Chinese intellectuals also imagined the West through books translated in the 80s of the 20th century. When they left China, they were confronted not only with the West they imagined, but also with the China imagined by Westerners. We will now examine whether contemporary Chinese artists considered as "others" express themselves, create, through the same prism that we might describe as a mirror effect.

1] Cao, Z. (2022). The Impact of Competence of University Teachers on Work Performance: An Analysis of the Regulating Mechanism Based on Perceived Organizational Support. Journal of Xingyi Ethnic Normal University, 4, 34-43. [2] Chen, N. (2022). Research

The essence of Chinese art is the crystallization of thousands of years of cultural accumulation, permeating the wisdom and emotions of the Chinese nation, and serving as the carrier and manifestation of the national spirit. However, due to historical reasons, a profound lack of this traditional artistic spirit is evident in modern Chinese art education. The most representative example is the complete focus on Western art as the assessment content and criteria in the art college entrance examination. This article will start with the differences between Eastern and Western artistic spirits to elucidate the uniqueness of Chinese art and ink painting. Furthermore, it will explore the influence of Chinese artistic spirit on the development of Western art from a historical perspective. By tracing its origins, the article aims to demonstrate the importance of Chinese artistic spirit in contemporary Chinese art and the necessity of incorporating it into higher education art examinations.

Politics of Performance/Performance of Politics

The 2022 anti–zero Covid White Paper protests that erupted in China and its diaspora demonstrated the intertwinement of politics and performance in contemporary China. The symbolic dimensions of blank sheets of A4 paper and other performative tactics used in these demonstrations exemplify the shifting roles of performance art in the field of contemporary Chinese art.

Autobiographical motifs in the "silent books" of contemporary Chinese artists (using the example of Sean Tan and Guojin)

The object of the study is “silent books” – books without text; the plot and author’s position are revealed exclusively through a sequential series of illustrations. The subject of the study is the graphic novels of young but already internationally recognized authors – Sean Tan and Guojin. "Silent books" are a relatively new direction in children's book illustration. The prototype of “silent books” – comics – was distinguished by rather primitive graphics, so although they were popular, but they were considered a “low genre” in the professional community. Then the comic went beyond kitsch culture and became an element of middle-class culture, and at the end of the century the comic was reinterpreted in pop art and included in the formation of neo-elite culture. The individuality of the authors is manifested in the choice of a plot related to personal and family history, as well as in the choice of a character of a certain psychological make-up – “silent heroes”, endowed with a rich imagination, the ability to empathize and equal friendly relationships. The technique in the “silent books” of Sean Tan and Guojin has the syncretism and dualism of Western and Chinese traditions. It can be interpreted both in terms of Chinese writing with “dry” ink, and in the European style of “chiaroscuro”; in all cases we had clearly defined contour and a sharp contrast of light and shadow. The author's self-expression in a graphic novel is very specific to book illustration. “The Quiet Book” can be considered as a special type of author’s utterance, similar to improperly direct speech in literature. All this distinguishes the graphic novels under consideration from other forms of children's book illustration, as an example of new paths in art, as well as an original and modern interpretation of social problems of society.

Research on the Role of Contemporary Curators and Exhibition Space Analysis

With the rapid economic development and the continuous improvement of people's living standards, curators and exhibition planning have become an important part of the transformation of the contemporary Chinese art exhibition mechanism. The significance of art curators and effective exhibition planning has been recognized by the public, and a large number of art curators have emerged in this environment. The different ideas of curators are presented in various forms of art exhibition activities.

Xu Bing's The Character of Characters and the Possibilities of Calligraphic Animation

This article examines contemporary Chinese artist Xu Bing's (b. 1955) 2012 animation video, The Character of Characters, which remediates Zhao Mengfu's (1254–1322) calligraphy and painting. The video, in which Chinese written words become the true protagonists, was originally a commissioned installation presented at the Asian Art Museum of San Francisco from October 2012 to January 2013. The article aims to model a form of extremely close analysis of new media art, which borrows vocabulary and methodologies from both art history and media studies. While making a timely contribution to Xu Bing scholarship by focusing on an understudied work in his oeuvre, it also adds new lines of inquiry: first, with regard to text-image reciprocity, which continues to be a focal point in studies of contemporary Chinese art; and second, with regard to animation-calligraphy reciprocity, which begs more critical attention. The Character of Characters, I argue, invokes a double vision that sees words on screen simultaneously as linguistic texts and pictorial shapes, a vision through which and because of which the activities of looking and reading are combined into one.

Major trends in the development of modern fiber art in China

With the strengthening of cultural exchanges with the international community, China's contemporary fiber art has been developing rapidly. This reveals certain problems that need to be investigated and solved. The subject of the article is the development process of Chinese contemporary fiber art, to clarify the role that China's International Fiber Art Biennale "From Lausanne to Beijing" has played in the development of Chinese contemporary fiber art. The purpose of this article is as follows: to determine the role of innovative technology in the development of the art field; to trace the influence of how the development of forms and materials of Chinese contemporary fiber art affects the artists' forms of creativity; to make a comparison between the current situations of fiber art in China and foreign countries in order to identify the immediate development prospect in this field. To achieve this goal, the scientific methods of historical analysis, comparative analysis, case studies and content analysis were used to explore the development of contemporary fiber art in China and its future trends. This study provides an in-depth analysis of the impact of the International Fiber Art Biennale from Lausanne to Beijing on the development of contemporary fiber art in China, exploring the role of innovative technology in the art field and how the development of contemporary fiber art forms and materials has influenced artists' creative forms. Вy comparing the current situation of fiber art in China and abroad, this study reveals the development prospects of fiber art in China. The analysis of this area suggests that with the deepening of artistic exchanges at home and abroad, the market and collection of Chinese fiber art will gradually take shape, providing more opportunities for artists to display and develop, and promoting Chinese fiber art to the world stage.

Философские основания современного китайского неореализма

Chinese new realism painting is formed under the interaction of western philosophy and Chinese native phi-losophy. Philosophical and cultural theories have had a significant impact on artists’ understanding of real-world problems and the way they conceive art. For some contemporary Chinese artists, philosophical and cul-tural theories have become an integral part of their professional outlook. Neorealist artists depict objective reali-ty according to their feelings, emotions and spiritual values. This paper points out three philosophical concepts that influence Neo-Realism philosophy: symbol philosophy, value philosophy and life philosophy. These philo-sophical schools have influenced the most important conceptual attributes of creation and reflected the particu-larity of neo-realists’ cognition of the world. The particularity of the philosophical and cultural interpretation of the new realist artist’s creation lies in the artist’s high subjectivity, criticism and individualization. It is this philo-sophical premise that opens up a broad space for free creation, showing the subjective understanding of reali-ty, reflecting the inner world of the individual and the interpretation of reality in the works.

Exploring the Educational Potential of Immersive New Media Art in Urban Commercial Spaces in Dalian City, Liaoning Province, China

Contemporary Chinese art has witnessed a transformative evolution in the realm of installation art, particularly in the context of immersive new media installations within urban commercial spaces. This study explores the educational potential of immersive new media art in urban commercial spaces in Dalian City, Liaoning Province, China. The research journey spans various stages of Dalian’s installation art development, from its early emergence in the 1980s to the prosperous period in the 1990s and its diversification in the 21st century. Key themes explored include the evolution of artistic expression, the impact on education, and the integration of new media in urban commercial spaces. The research site primarily focuses on Dalian’s cultural and commercial landscapes, with a spotlight on the Xiongdong Street project. The study employs a qualitative research methodology, combining field research, interviews, multimedia elements, and data analysis to offer comprehensive insights into the subject matter. Key informants include artists, scholars, and experts within the field of installation art. The research results reveal the dynamic evolution of Dalian’s installation art, its educational significance, and its integration into urban commercial spaces. The study suggests that immersive new media art has the potential to enrich art education, engage the public, and foster cultural and commercial development.

Art as Surgery: Hygiene Politics in Zhang Peili’s Glove Art, 1985–91

This article analyzes Chinese video artist Zhang Peili’s latex-glove-themed paintings and conceptual art from the 1980s. It argues that they are an important intervention into post-socialist China’s politicized discussions on art’s role in society. Building on Mel Chen’s discussion of animacy hierarchies as sociopolitical constructs, the article reads Zhang’s latex gloves as animate—transgressing boundaries of “aliveness” between humans and objects. It locates Zhang and his art collective, “Pond” Society, amid mid-1980s discourses on art’s emotional contagiousness, highlighting that the Chinese art establishment’s insistence on Realism and on the Maoist art methodology of “immersion into life” (shenru shenghuo) reflected anxieties about “healthy” art making that could promote national progress. Zhang’s series of X? glove paintings from 1986 onward represent strategic promotions of his medical conceptualization of art. Zhang was infected during the 1988 Shanghai hepatitis A epidemic, and his subsequent glove-themed work called for an embrace of viral life. The figure of the glove was also central to Zhang’s first two video works, including Document on Hygiene No. 3, which signals a shift away from the insistence that art should reinforce the artist’s authority. Instead, Document uses the gloved hand to reflect on where, in a society obsessed with purity and in an art world obsessed with radicalism, we might fundamentally locate agency. This article shows that the history of contemporary Chinese art cannot be understood without considering artists’ responses to, and contributions in shaping, the deeply politicized notion of hygiene.

Феминистское инсталляционное искусств в современном Китае

Feminist installation art in contemporary China is one of the most dynamic and controversial trends in Chinese contemporary art. It reflects the complex processes of social, political and cultural transformation that have been taking place in China in recent decades. Feminist installations express critical attitudes towards traditional gender roles, national identity, environmental issues and globalization. However, feminist installation art in contemporary China has not received sufficient scholarly coverage and analysis in domestic and foreign literature. Existing studies are often limited to describing individual works or female artists without considering the historical, cultural, and social contexts in which this trend is formed and developed. In addition, many feminist installations have a complex semiotic structure that requires a deep and multidimensional interpretive approach. The expected outcome of the article is a comprehensive and multilevel study of feminist installation art in contemporary China, which will allow for a better understanding and appreciation of its significance.

Integrando padrões tradicionais chineses à estética moderna: um estudo de teoria enraizada com base na “Coleção de Padrões Chineses”, de Pang Xunqin

Abstract: This study employs grounded theory methodology, utilizing open coding, axial coding, and selective coding techniques, to conduct a systematic analysis of Pang Xunqin’s “Chinese Decorative Pattern Collection.” A theoretical framework is constructed to explore the fusion of traditional Chinese patterns with modern decorative art design. As a pioneer in this domain, Pang Xunqin’s oeuvre not only bridges historical gaps in Chinese decorative arts, but also offers innovative insights for the progression of contemporary Chinese art and design. The coding analysis of the study reveals the adept integration of traditional patterns into modern design practices by Pang Xunqin, thereby enhancing cultural identity and artistic vigor. Additionally, a dynamic model is introduced, charting innovative pathways for the modern evolution of traditional patterns and fostering their global cultural dissemination and innovation. This model enriches our comprehension of the amalgamation of tradition and modernity and presents a novel perspective for the observation and application of traditional culture in contemporary settings.

Appreciating "Crows Returning to the Forest" Artwork through Cultural Contexts

This article is about the appreciation of Chinese contemporary oil paintings in Henan Province, and the researcher has chosen the work "Crows Returning to the Forest"(han ya gui lin) by the artist Li Mingwei from Henan Province, China, as the object of discussion. The work is analysed in terms of formalism, but also in terms of the concepts of culture that exist through values, behaviours, needs and environments in the field of art. The aim of the study was to identify the subject and analyse the art form in the work “Crows Returning to the Forest” and to explain the connection between formalism in the art of painting through the socio-cultural system. The written and visual data collection methodology in this study uses a descriptive qualitative approach based on empirical field work of the data obtained. Documentation, visual records and observation methods were used to gather information related to the paintings studied. The results of the study show that Li Mingwei's work "Crows Returning to the Forest" is an application of traditional Chinese cultural elements to the art of oil painting. The concepts used in the study underlie the subject, design and aesthetic meaning to classify the painting using a cultural approach. The significance of the study suggests that contemporary Chinese oil paintings in Henan Province cannot be viewed only from the formalistic perspective of art but can also be presented through a cultural context. This study contributes to the understanding of the meaning, concepts and purposes of design employed by contemporary Chinese artists in shaping the image and cultural identity of their work.