Artistic Trends Research Articles

The Development of Still-life Painting in China in the Second Half of the Twentieth Century Under the Influence of Russian-Soviet and Western Art

Still life as an independent painting genre in Chinese fine art was formed in the second half of the XX century under the strong influence, first of all, of Western European and Russian, and then American art. This relatively short period of time includes several periods at once, in which one or another influence dominated. However, it was the integration of the ideas and principles of foreign art schools that allowed Chinese masters to develop those features of the artistic and figurative language that determined the features of the genre of still life in the space of modern art. The object of the article is the process of development of Chinese still life in the second half of the twentieth century, the subject is a set of expressive and artistic means used by Chinese artists to create a still life under the influence of foreign artistic trends. This article aims to determine the place and features of the genre of still life in the works of Chinese painters of the second half of the XX century, as well as to characterize the conformity of this genre to the trends of Russian and Soviet, as well as European art. The study concluded that this genre received rapid development in the second half of the XX century, which occurred under continuous foreign artistic influence. The occupation of a strong position in the space of Chinese art by still life and the formation of its original character with national specifics occurred at the end of the twentieth century.

Musical projects in Ukraine of the XXI century as trends in contemporary art

The relevance of scientific work is determined by the need to identify and justify the syntactic-semantic connection between contemporary musical art and the socio-cultural world space. The aim of the article is a comparative analysis of tradition-innovation relation in the context of musical art in modern Ukraine on the example of leading musical projects. Achievement of the objectives was possible due to the use of a number of methods of scientific research, among which analysis, synthesis, generalization, and systematization, as well as the method of comparativism. The relevance of studying the correlative connection between traditional Ukrainian cultural space and global artistic trends, gravitating toward pluralism and multiculturalism, as well as the establishment of intercultural communication was confirmed. The novelty of the scientific article consists in the study of musical projects as objects of the sphere of art for the identification of Ukrainian tendencies. The practical value of the work is focused on providing the scientific space with qualitative information content on the topic of the formation of Ukrainian festivals and explaining their specificity. Thus, the authors have summarized a comprehensive cultural research and identified the prospects for further developments with the online measurement of audiovisual int of modern Ukraine.

Contemporary global trends in choreographic art development at the beginning of the 21st century

The aim of this study was to identify the main contemporary global trends of choreographic art at the beginning of the XXI century and illustrate the practical aspects of existing trends in world choreography through a questionnaire survey. This practical study was conducted through an online questionnaire survey among 52 acting choreographers, members of the National Choreographic Union of Ukraine, 92 students of the Faculty of Choreographic Arts of the Kyiv National University of Culture and Arts, and 34 scholars in the field of art history conducting research work within the activities of choreographic art of Kyiv National University of Culture and Arts. Based on the study results, the main features of modern choreography according to the respondents were: improvisation in dance forms; synthesis of ballet tradition with dance innovations; the latest forms of interaction between choreography and other art forms, including synthesis, symbiosis, concentration, and transfer; synthesis of all genres of choreographic art; combination of other art forms (fine arts, theater, and cinema). The respondents were of the opinion that the understanding and use in the choreographic activities of the XXI century person image are designed, not only to have a mutual influence on the elements of socio-cultural space of different countries, but also to determine the trends of future social transformations. Also, choreographic art spreads a new social content in the created human choreographic images of the XXI century due to the specific features of the choreographic manner. In conclusion, contemporary choreographic art is a striking combination of different dance techniques and traditions. Careful research and analysis of this field will contribute to the formation and development of new forms of dance art in the future.

Art and Intercultural Education with Signs of Tolerance, Acceptance from the Perspective of Future Teachers

Art education is present at all levels of education. Its purpose is to enable students and individuals to interpret the arts, to be aware of their own cultural identity, and also to be able to accept others’ values of culture and art. It is essential to cultivate respect for one’s own cultures and traditions, as well as the acceptance and tolerance for other cultures. All this is an integral part of teacher training. It is especially important at this level as the educator shapes the thinking, education, and attitude of the representatives of future generations. These aspects are given special attention at the Faculty of Education of J. Selye University. 
 J. Selye University is a minority tertiary institution in Slovakia. The diverse elements of art and art education, the branches and trends of art – chosen and preferred based on the subjective approach –, the peculiarity and diversity of the minority environment all meet here along with their interactions and connection points in the spirit of tolerance, understanding, acceptance in the 21st-century approach.
 In this study, we examine the views, opinions, and experiences of the university students of the Faculty of Education at J. Selye University with regard to the outlined aspects, and then, as a result, we present some remarkable results, drawing the necessary conclusions.

Analysis of the main trends of modern Ukrainian wartime painting and artistic parallels

The purpose of the article is to highlight the main stylistic features of modern Ukrainian fine arts of the war period in relation to the art of Ukraine of the twentieth century. The research methodology is based on the comparative analysis of the visual-plastic language of contemporary Ukrainian art, as well as the comparative-historical method, which allows us to analyze the artistic temporal parallels of the development of Ukrainian fine arts. The scientific novelty consists in the first attempt to create a holistic picture of the development of modern Ukrainian fine arts of the war period and to determine the main artistic trends in the formation. Conclusions. The war period for Ukrainian art became a milestone that separated the artistic trends of the early XXI century and stylistic features of 2022, which introduced new artistic priorities and requirements. As a result of the analysis, it is established that the main trends in the development of modern Ukrainian wartime painting can already be identified. Generally speaking, this is primarily a tendency to posterity, generalization, monumentality. Heroization of the images of the victorious pages of the past in Ukrainian history, as well as glorification of the image of Ukraine-woman, suffering, but unshakable in the fight against the enemy. The use of Ukrainian symbols in works of art - flag, coat of arms, Ukrainian ornament, etc. - acquires a new sound. An attempt was also made to structure works of modern painting in the following areas: features of graphics and posters; tendencies of folk art and neo-primitivism; signs of heroic and epic style, neorealism. Of course, this process of forming a new plastic trend in Ukrainian painting has only just begun; it develops, moves, pulsates, changes. It is happening here and now. However, despite the terrible catastrophe and its destructive action, which we are witnessing and the name of which is the war, today we can see how radical changes are taking place not only in the national context of Ukraine, but around the world. And the destiny of art is not only to reflect these global changes that we have witnessed, but also to lead society, consolidate, affirm the eternal values and ideals of humanity, national foundations and lead to victory.
 Key words: modern painting, poster, national style, neorealism, neo-primitivism, avant-garde, national symbols.

The Communicative Function of Performative Ekphrasis, the Anagram Riddle and Proverbial Sayings in John Donne’s Poetic Diptych

This essay takes a communication-oriented approach to selected early modern English poetry. It presents a textual analysis of John Donne’s elegy The Anagram, related to the earlier observations concerning his elegy The Comparison, and reveals its multi-generic patterns as well as certain thematic and structural relations between these poems. It thus argues, on textually substantiated grounds, that these elegies may be regarded as a poetic diptych which utilizes features and functions of various forms of communication, associated with literature, visual arts, popular entertainment and folk wisdom. The argument continued in this essay is that Donne draws on the 15/16th-century experimental artistic trend recognized in the particular paintings attributed to B. Passarotti and Q. Massys and appears to superimpose text onto the earlier provided images. The comparative analysis of Donne’s elegies suggests he brings together different reference objects and his poetic message presupposes the addressee’s interaction: certain cognitive and creative processes. By presenting Donne’s ekphrasis as evolving from descriptive to performative, this essay indicates the need to further investigate early modern poetry, by means of interdisciplinary tools, for its references to other arts and, more generally, for its communicative potential.

The Code of Presence: Belarusian Protest Embroideries and Textile Patterns

Since the fraudulent presidential elections of 9 August 2020, the Republic of Belarus has become a battleground between the women-led democratic opposition forces and the authoritarian regime of Alexander Lukashenka. Current forms of political oppression in Belarus make open public protest dangerous. This exhibition report highlights safer ways to express dissent in a dictatorial society by grounding it in the textile arts, collective labor, and participatory practices. “The Code of Presence: Belarusian Protest Embroideries and Textile Patterns” is a permanent digital exhibition that I curated in 2022 hosted by the University of Michigan Library. The exhibition features 12 textile projects created by professional female artists from Belarus, including the works of Rufina Bazlova, Masha Maroz, Varvara Sudnik, Anna Bundeleva, Nasta Vasiuchenka, Lesia Pcholka, Vasilisa Palianina, Dasha Sazanovich, Yuliya Tsviatkova and Da(r)sha Golova. The exhibition explores how Craftivism, a global trend in contemporary art associated with political activism, correlates with the artists’ perceptions of the country’s textile heritage. The purpose of this report is to introduce individual artists, their voices and projects. It is grouped into three distinct, albeit overlapping, categories: 1) individual craftivist strategies in Belarusian protest embroideries; 2) collective craftivist embroidery practices; and 3) traditional textile patterns in other media. Galvanized by the protests of 2020–2021, political artists’ embroideries and ornamental graphics emerged as a protest ritual of a new kind, igniting a powerful process of cultural heritage revitalization, and documenting the events of the protests, working with such themes as feminism, female labor, memory, and trauma.

“Sure a Strong Devil”: Mabel Frazer, A. B. Wright, and the University of Utah Art Department's 1937 Sexual Misconduct Case

“Sure a Strong Devil”: Mabel Frazer, A. B. Wright, and the University of Utah Art Department's 1937 Sexual Misconduct Case

The Influence of Contemporary Art Trend on Poster Design

The ideological trend of contemporary art originated in the west, namely the ideological trend of contemporary art, can also be called "postmodernism". In the western art in the history of language, "after" (post) represents the meaning of "anti", which is the behavior of expressing personal style in the tide of modern art. This reminds people of was born in the 1950s in Britain pop art, born under the background of pop art, closely related to the consumer society, under the unique background gradually mature, British pop art pioneer Richard Hamilton, his masterpiece " what makes today's life so different, so attractive? It is a reflection, reflection and rebellion advocating elitism. These artists provide new design ideas for the development of artistic design, and apply more open and inclusive elements to artistic design, including poster design, which greatly enriches the expressive force of artistic works.

Irudikapenetik esperientziara: euskal literaturaren ikerketa feministaren hastapenak XX. mendearen bukaeran

From the 80s on, contributions to Basque literary criticism and research from feminist perspectives began to appear. An analysis of this tendency has been made through three publications: Hogoigarren mendeko emakumeak idazle: antologia eta ohar batzuk by Itxaro Borda (1984), the Emakumea eta literatura issue of the journal Jakin (1987) and Linda White’s thesis Emakumeen hitzak euskaraz: Basque Women Writers of the Twentieth Century (1996). Moreover, we have compared these three sources to existing analogous trends in anthropology and art. We emphasize that they proposed a turn from the archetypical to actual experience, based on the diversity of female experiences.

The main trends in modern musical art

The article discusses a new stage in the development of modern musical culture, which manifested itself in the postmodern era. These qualities are manifested in the formation of a new sound, the integration of musical art with other types of art, the mixing of musical styles, the emergence of borderline forms of musical art, and the birth of a modern musical language. In the article, art is correlated with the processes of scientific and technological progress.

Research on the Application of Pop Art in Animation and its Enlightenment -- A Case Study of Spider-man: Parallel Universe

Pop art is an artistic trend that emerged in the 1950s, combining commercial art with modern technology, a popular 
 culture that meets the aesthetic of the masses and is characterised by its novelty. The animated film Spider-Man: Parallel Universe 
 is combined with Pop Art, and this post-modern art style enrichis the art form of animation works. This article mainly analyzes the 
 application of pop art in Spider-man: Parallel Universe from the aspects of color elements and composition, discusses the Chinese 
 animation production under the influence of pop trend of thought, and puts forward thinking and inspiration for the development 
 of Chinese animation.

КУЛЬТУРНИЙ ДІАЛОГ У СУЧАСНОМУ МИСТЕЦТВІ ЯК ШЛЯХ ДО РОЗУМІННЯ НОВОЇ ХУДОЖНЬОЇ РЕАЛЬНОСТІ

The article is devoted to the actual problem of identifying ways of cultural dialogue in modern art. The relevance of the topic is explained primarily by the complexity of the perception of the works of modern artists by an unprepared viewer. The author considers how this process took place at different stages of updating the artistic language of art. Four main chronological periods are proposed for consideration; in each of them the ways of cultural dialogue with archaic and classical pictorial traditions are considered. The author emphasizes that despite the manifest refusal of avant-garde artists from all forms previous art, at the same time they are all one way or another oriented towards certain images and symbols that already existed in art. Thus, forms of cultural dialogue with the art of the past were carried out. The renewal of the artistic language of modern art was not only due to the forms of dialogue with predecessors in art. Avant-garde artists, like those who followed them, turned to discoveries in various fields of science. Science contributed to the emergence of entire trends in art, including the birth of abstract painting. This is how the abstract systems of K. Malevich and V. Kandinsky appeared. In the middle of the twentieth century, under the influence of the discoveries of physics, the so-called "nuclear painting" appeared. Some types of abstraction of this period are born under the influence of human space exploration. The artists also showed particular interest in music, which should have led to a synthesis of all forms of creativity. The methods of cultural dialogue in the latest art are also influenced by social processes, which were reflected in different ways in the creative searches of the creators of a new artistic reality. The impact of the Second World War was especially tangible. Of interest are the forms of cultural dialogue between representatives of the avant-garde and modern artists with classical art. Each appeal to the classics gives rise to new meanings. Cultural dialogue is important in introducing the viewer to the ways of creating a new artistic reality. The artist's involvement of the viewer in the process of the birth of new meanings makes it possible to realize the changes; that take place in the creative mind. Modern art provides the viewer with the opportunity to participate in the creation of a new artistic reality. However, this process requires the viewer to be ready and make an effort to perceive a new artistic language, including through cultural dialogue.

The Annotated Passover Haggadah ed. by Zev Garber and Kenneth Hanson

Reviewed by: The Annotated Passover Haggadah ed. by Zev Garber and Kenneth Hanson Richard Libowitz The Annotated Passover Haggadah. Edited by Zev Garber and Kenneth Hanson. Denver, CO: GCRR Press (imprint of the Global Center for Religious Research), 2021. Pp. 365. $19.99, paper. For those of a certain age, their first Haggadah, the guide to conducting the Passover Seder, was a slender pamphlet bearing an advertisement for Maxwell House Coffee, testifying to the product's quality and its certification as being "Kosher for Passover." The story and rituals of Pesah were presented within but lacked explanation as to their origins or rationales. A multitude of more recent Haggadot have supplied those explanations, adding new materials, reflecting Hasidic, Orthodox, Conservative, Reform, Reconstructionist, Secular, Feminist, Vegan (or other) viewpoints and blending interpretations, contemporary references, and modern additions with the ancient text, filtering the holiday observance through each group's particular lens. This is, after all, the purpose of the Haggadah, to explain Passover—but how is one to explain the Haggadah? The editors have created a volume combining the traditional contents of the Haggadah with both theological and secular insights into the text. Garber, Emeritus Professor and Chair of Jewish Studies and Philosophy at Los Angeles Valley College, has been a significant figure within the Jewish academic world for many decades, his hundreds of publications covering the waterfront of Jewish life and thought. Hanson, Coordinator of the Jewish Studies Program at the University of Central Florida, has written extensively on the Second Jewish Commonwealth, the historical Jesus, and Jewish Christianity. Their volume has its roots in a 2018 meeting of the National Association of Professors of Hebrew on "the connections or disconnections between the Jewish Seder and Christian Communion." The text is divided into two sections. Part One, written by the editors, presents some of the rules and traditions of the Seder from a "traditional standard [End Page 459] of Passover Halakha," while Part Two, Supplementary Readings that include historical and theological studies, interreligious investigations, artistic analyses, and personal testimony, takes up more than two-thirds of the volume. Peter Zaas launches the commentaries with a comparison of researchers to the traditional "four sons" of the Haggadah, asking what question(s) "a simple scholar" should ask pertaining to Eucharist and Seder. Garber discusses the inclusion of readings about the Holocaust during the seder, their significance for Jews and Christians, and appropriate understandings of traditional haggadic passages in light of the Shoah. These issues are also raised within other essays. My personal favorite within the collection is David Patterson's "Haggadah, Shoah, and the Exigency of the Holy." His depth of erudition and literary skill are matched by few scholars. His discussion of the analogy of darkness/light and forgetfulness/memory should be a topic for discussion at every seder table. Nathan Harpaz discusses "Sample Haggadot and Sedarim: Artists' Perception of the Last Supper and the Passover Seder." Since the acceptance of representational art came late in Jewish history, it should not be surprising that the primary topic of this essay is depictions of the Last Supper, the most famous being that painted by Leonardo DaVinci. It was not until the nineteenth century that Haggadot began to include illustrations, many of them patterned after "Last Supper" artworks. Harpaz details how various artistic trends have altered presentations of both events over time. Moving from visual arts to fiction, Susan Garber has adapted her short story, "Ziva: The Warrior of Light," for this volume. Her tale of the daughter of Aaron, whose soul moves through time and space, begins with the suffering in Egypt and rebellion in the Wilderness, before moving into supernatural fantasy or, perhaps, religious science fiction. As the one literary contribution to the volume, "Ziva" acts like a soulful sorbet, refreshing the palate after so many pages of academic and theological offerings. Four essays present aspects of Passover observance among differing regional and ideological communities. Yitzchak Kerem ("Romaniote and Judeo-Spanish (Ladino) Passover Haggadah: Excerpts and Related Customs"), well known for his scholarship pertaining to Greek Jewry, reviews some of the prayers, customs, songs, and foods of the different Judeo-Greek and Judeo-Spanish Sephardic communities in Greece, comparing them to...

Круглый стол «Эстетика советской кинокомедии». Эксцентрика, авторское начало, официозный контекст

In the modern period the aesthetics of comedy in cinema was on the periphery of the attention of the science of art. Not least, this was due to the fact that the analysis of the comic was relegated to the background by the study of the playful relativity characteristic of postmodern trends in the screen arts of the late 20th and early 21st centuries. Meanwhile, Soviet film comedy remains one of the pinnacles in the development of this genre in the cinema of the 20th century. And the decline of comedy in modern Russian cinema prompts a return to the experience of the masterpieces of the Soviet era. The relevance of the topic is connected with this: the contexts of the comic and laughter in Soviet comedies, their functions of a social, communicative, aesthetic nature were not studied in detail and comprehensively in their time. The novelty of approaches today is associated with the possibility of free from ideological pressure and the most detailed consideration, and in part are vision of the formal and substantive features of the film comedy of the Soviet period. This scientific process combines the methods of art history, cultural studies, folklore and anthropology. This text reviews the reports at the Round Table “Aesthetics of Soviet Film Comedy”, organized by the Mass Media Arts Department of the State Institute for Art Studies and which brought together scientists of different generations from VGIK, the Union of Cinematographers of the Russian Federation, the Russian State University for the Humanities, the Higher School of Economics, the Academy of the Media Industry, the Free University and other institutions. The purpose of the round table was to identify the main phases of the evolution of comedy in the Soviet cinema, and therefore the order of the reports took into account the historical chronology of the appearance of certain films and genre varieties of comedy. Since the formation of film comedy in the 1920s – 1940s, a change in philosophical paradigms, the transformation of an eccentric principle, the formation of new artistic images and motives have been recorded. The attention of researchers to the problems of the relationship between society and the state, concepts and theories of the comedy principle in the context of government orders was also obvious. Particular attention of researchers was directed to the polymorphic nature of comedy, capable of combining lyricism and farcicalness, serious and frivolous, openly conditional and life-like. A number of speakers addressed to the individual elements of the comedy film poetics, the relationship between visual and sound, transformations of characters’ images, inclusions of theatrical forms, grotesque, and absurdity. Aspects of the film language of Sergei Gerasimov, Ivan Pyryev, Stanislav Barei, Edmond Keosanyan, Georgy Danelia, Leonid Gaidai were analyzed.

Siberian Animal Style as a Conceptual Basis for the Conversion of Traditional Artistic Heritage into Cultural Industries

The process of acquiring the author’s style, its semantic distinctive features, and the creation of the author’s identity is a fundamental problem for artists. The paper is devoted to the analysis of the artist’s native culture code influence on the creative concept and artistic language. Artistic inversion is important ‒ the inverse representation of the cultural code in the artist’s work. We consider artistic, pictorial inversion as a form of the artistic conceptualization. It contributes to the successful understanding of the connotations and intentions of the artist’s work by his audience. An analysis of Namdakov’s work allowed us to conceptualize the representation problem of the cultural code in Far East peoples’ contemporary art and describe artistic strategies that represent the influence of such semantic aspects of the cultural code as the influence of the artistic worldview, the strategies elevation of original interpretation and transformation of the animal style, the influence of the academic background. We define the artistic paradigm of the style as a style-forming factor in contemporary creative industries of artists who emerged from traditional crafts communities. The phenomenon of ethnic artistic tradition has been widely studied in the art history literature (T. M. Stepanskaya, A. V. Edokova, L. I. Nekhlyadovich). We believe, however, that attention should be focused on the content of “cultural code of artistic paradigm”, because ethnic artists consciously transform national artistic images and techniques through integration of their heritage into contemporary artistic language, culture and art background. This is particularly relevant for artists who institutionalize their style into a recognizable contemporary art language strategy. The main research question addressed in this paper is the representation peculiarities of the Namdakov’s artistic strategy semantic forms. He creates innovative ways of shaping, applies illogical, provocative and asymmetrical compositional solutions, creates fresh artistic metaphors, overcomes visual and figurative traditions and transforms ethnic artistic traditions into the leading artistic world-class trends of contemporary art. It has been proved that the animalistic style acquired a new modern dimension with the development of the creative industry in the regions of South-East Asia: the north of modern China and the art workshops of D. Namdakov and Zhigzhit Bayaskhalanov in the Russian Federation. It was the original interpretation of the animalistic style that became a powerful source for the development of traditional folk craft culture and brought the Far East peoples’ modern art to a new level of development, contributed to the evolution of the artist’s creative potential and gave many artists hope for creative expression.

PHILOSOPHICAL PEDAGOGICAL PARADIGM DICTIONARY WORK AS A MEANS OF ACTIVATION COGNITIVE ACTIVITY OF STUDENTS IN LITERATURE LESSONS

The article highlights the problem of improviry the teaching process in terms of mistering knowledge of literature, in paticular studying artistic trends and separate texts. The author investistigates theoretical and methodical basis of teaching literature from the point o f view of cognitive activity by means of learning the vocabulary.

PERFORMANCE IS A PHENOMENON OF CONTEMPORARY ART

The growing popularity of performance art makes it a striking phenomenon of international socio-cultural reality. Bright, protest form of artistic expression of the 1960s – 1970s in the late twentieth – early twentieth century. acquires the status of one of the most popular genres of contemporary art. Today, performances take place in many major museums around the world, elements of the genre are borrowed from modern mass and protest culture, and the transliterated term itself acquires new meanings and is used in different contexts. Existing and developing within the “field of art” (international institutions, the professional community, criticism, etc.), performance affects all aspects of human life without exception, and is a modern phenomenon of human life. The performance has a huge communicative potential, as it is designed to actively influence the audience or interact with the audience. It illustrates one of the trends in contemporary art: shifting the emphasis from the artist to the viewer. The high degree of significance of the recipient in the process of perception of art and increasing the role of context inevitably change the boundaries of art, having a significant impact on the relationship between art and society. This article is devoted to the consideration of philosophical views on performance, the basic principles of modern art, the characteristics of performance in everyday life, as well as analyzes the philosophical and ideological ideas underlying minimalism as a way of life.

Fiber: The Shared Code of Art and Design—On the 2021 Fiber Code Exhibition

Fiber Code Exhibition opened in China Design Museum of CAA on May 18th, 2021, lasting 4 months. This exhibition brings together the works of artists, design institutions and material laboratories from China, the United States, Germany, Canada, the United Kingdom, Japan, Hong Kong, Taiwan, and other places. It shows the research achievements of fiber materials in art and design, electronic technology, material engineering, biotechnology, artificial intelligence, and other fields, with a total of more than 150 sets of works and image products. This article will “decode” the exhibition comprehensively, and discuss the trend of art and design becoming more and more integrated today.

Chinese contemporary art teachers\u2019 professional development in the 20th and 21st centuries within the multicultural framework

The study of contemporary art is one of the main means of implementing aesthetic education in China. This discipline allows a student to develop a system of spiritual values, reveal talents and acquire skills needed for professional growth. Chinese art is an integral part of the global cultural space, and Chinese contemporary art performs the functions of cultural reflection, occupying an important place in developing the state’s cultural identity. In the process of globalization, it is extremely important to study not only Chinese, but also world contemporary art, as well as the peculiarities of its teaching in the educational institutions of the PRC within the framework of the multiculturalism movement. The study objectives are to develop a unique online platform for teaching and learning contemporary art in China, to identify the features of art teacher training, to identify the methods of and trends in teaching contemporary art in the Chinese system of secondary and higher education, as well as to determine the most effective method of teaching contemporary art in China based on the experiment. In the course of the study, a plan and structure of the website containing audio and video materials, graphic editors and a conference system for students and teachers were developed. An innovative classification of the contemporary art movements was made in accordance with the tools and methods of creating art works. The styles of contemporary art were divided into groups: painting, sculpture/architecture, photography, cybernetic art, literature, optical art, theatrical art, mass culture, and hybrid art. The database was compiled by the masters of Art from China and Ireland, which emphasizes the internationality and multiculturalism of the project. An experiment was conducted to determine the level of effectiveness of different methods of teaching contemporary art in China. In the course of the experiment, the Spark platform developed for the study purpose was recognized as the most effective (56.1%). The effectiveness of the active method and passive method of teaching was 27.2% and 16.7%, respectively. The study results can be used in the study of various trends in contemporary art in the process of modernization and within the framework of pedagogical and commercial activities related to the work of exhibitions and galleries. In addition, they can be used to improve the methods of teaching contemporary art online and offline to the broad public audience and improve the professional skills of graphic or UI/UX designers, 3D modeling experts, engineers, editors, and IT developers. The practical significance of the developed online platform lies in the possibility of database use, practical application of the knowledge gained, and taking online lessons with Chinese and foreign teachers as part of a multicultural experience exchange.