The imagery and abstraction trend of Chinese contemporary oil painting

Guangyu Yang

doi:10.21744/lingcure.v5nS2.1383

Authors

Guangyu Yang
gyang3405@gmail.com
Donghua University, Shanghai, China

Keywords:

artistic, China, literary value, painting, oil art, traditional art

Abstract

The relevance of the study is determined by the fact that Chinese painting is at least five thousand years old. Throughout history, Chinese artists have used light pink, gold and black colors in their work. The paper shows that sumi-e (Chinese national ink wash painting) is different from the European one. The authors show that calligraphy is inextricably linked to painting, use the same lines, materials, and tools. In China, paintings are not only artistic but also a literary style. The novelty of the study is determined by the fact that the authors of the paper highlight the aspect of the execution of oil painting without preliminary sketches. The expressiveness inherent in Chinese art is achieved through four values of the artist. It is revealed that each artist attaches great importance to the choice of their professional tools and approaches it with an increased level of responsibility. The practical significance of the study is in the fact that the paper shows the possibility of developing the culture of traditional oil painting. It is shown that two opposites must be combined at the same time: dark and light, large and small, dry and wet, short and long, rare and frequent.

Downloads

Download data is not yet available.

References

Asadi, A., Aberoumand, S., Moradikazerouni, A., Pourfattah, F., ?y?a, G., Estellé, P., ... & Arabkoohsar, A. (2019). Recent advances in preparation methods and thermophysical properties of oil-based nanofluids: A state-of-the-art review. Powder technology, 352, 209-226. https://doi.org/10.1016/j.powtec.2019.04.054

Chen, L. H., Tsai, M. F., Hsu, C. H., & Chen, Y. S. (2013). Aging and Reverse-aging Traditional Chinese Painting Images Based on Web-Mining. New Generation Computing, 31(4), 285-309.

Chen, S. (2019). Exploration of artistic creation of Chinese ink style painting based on deep learning framework and convolutional neural network model. Soft Computing, 1-12.

Chiavari, C., Colledan, A., Frignani, A., & Brunoro, G. (2006). Corrosion evaluation of traditional and new bronzes for artistic castings. Materials Chemistry and Physics, 95(2-3), 252-259. https://doi.org/10.1016/j.matchemphys.2005.06.034

Geng, Y. (2018). Chinese Art of The Early People’s Republic: A Transitional Period. In Mao’s Images (pp. 1-12). JB Metzler, Wiesbaden.

Geng, Y. (2018). Dual Mao: Dong Xiwen and National Oil Painting. In Mao’s Images (pp. 137-171). JB Metzler, Wiesbaden.

Guo, J., Li, C., & Pan, J. (2017, September). Automatic Background Adjustment for Chinese Paintings Using Pigment Lines. In Pacific Rim Conference on Multimedia (pp. 596-605). Springer, Cham.

Hradil, D., Grygar, T., Hradilová, J., & Bezdi?ka, P. (2003). Clay and iron oxide pigments in the history of painting. Applied clay science, 22(5), 223-236. https://doi.org/10.1016/S0169-1317(03)00076-0

Hu, D. (1995). The philosophical origin of the black-white system of Chinese painting. International Journal of Politics, Culture, and Society, 8(3), 453-465.

Jelle, B. P. (2011). Traditional, state-of-the-art and future thermal building insulation materials and solutions–Properties, requirements and possibilities. Energy and buildings, 43(10), 2549-2563. https://doi.org/10.1016/j.enbuild.2011.05.015

Lam, N. W. (2016). Comparison of Chinese Calligraphy and Ink Painting Brushes with Western Water-Media Painting Brushes. In Proceedings of the 2nd International Colloquium of Art and Design Education Research (i-CADER 2015) (pp. 571-576). Springer, Singapore.

Lavallee, D., & Robinson, H. K. (2007). In pursuit of an identity: A qualitative exploration of retirement from women's artistic gymnastics. Psychology of sport and exercise, 8(1), 119-141. https://doi.org/10.1016/j.psychsport.2006.05.003

Li, T., Ji, J., Zhou, Z., & Shi, J. (2017). A multi-analytical approach to investigate date-unknown paintings of Chinese Taoist priests. Archaeological and Anthropological Sciences, 9(3), 395-404.

Li, Z. X. ., & Huan, C. Y. . (2019). Chinese and North American culture: A new perspective in linguistics studies. Linguistics and Culture Review, 3(1), 14-31.

Ma, J. (2019). Innovative Research on Image Processing Based on Replication of Chinese Painting and Calligraphy. In Advances in Graphic Communication, Printing and Packaging (pp. 325-332). Springer, Singapore.

Miliani, C., Romani, A., & Favaro, G. (1998). A spectrophotometric and fluorimetric study of some anthraquinoid and indigoid colorants used in artistic paintings. Spectrochimica Acta Part A: Molecular and Biomolecular Spectroscopy, 54(4), 581-588. https://doi.org/10.1016/S1386-1425(97)00240-0

Paetzold, H. (2009). The origins of landscape painting: An intercultural perspective. In Intercultural aesthetics (pp. 55-67). Springer, Dordrecht.

Pintor, A. M., Vilar, V. J., Botelho, C. M., & Boaventura, R. A. (2016). Oil and grease removal from wastewaters: sorption treatment as an alternative to state-of-the-art technologies. A critical review. Chemical Engineering Journal, 297, 229-255. https://doi.org/10.1016/j.cej.2016.03.121

Sheng, J., & Wang, Z. (2018, July). Study on the Digital Expansion of Chinese Static Works of Art. In International Conference on Distributed, Ambient, and Pervasive Interactions (pp. 411-427). Springer, Cham.

Steger, S., Oesterle, D., Mayer, R., Hahn, O., Bretz, S., & Geiger, G. (2019). First insights into Chinese reverse glass paintings gained by non-invasive spectroscopic analysis—tracing a cultural dialogue. Archaeological and Anthropological Sciences, 11(8), 4025-4034.

Thorwarth, D., Eschmann, S. M., Paulsen, F., & Alber, M. (2007). Hypoxia dose painting by numbers: a planning study. International Journal of Radiation Oncology* Biology* Physics, 68(1), 291-300. https://doi.org/10.1016/j.ijrobp.2006.11.061

Van Rees, C. J. (1987). How reviewers reach consensus on the value of literary works. Poetics, 16(3-4), 275-294. https://doi.org/10.1016/0304-422X(87)90008-8

Wang, S., Hu, Y., Tan, W., Wu, X., Chen, R., Cao, J., ... & Wang, Y. (2012). Compatibility art of traditional Chinese medicine: from the perspective of herb pairs. Journal of ethnopharmacology, 143(2), 412-423. https://doi.org/10.1016/j.jep.2012.07.033

Wang, Y., Liu, J., Hao, W., Ning, X., Shi, Z., Zhao, M., & Zhang, J. (2015). A Generation Method of Chinese Meticulous Painting Based on Image. In Transactions on Edutainment XI (pp. 187-199). Springer, Berlin, Heidelberg.

Xu, S., Xu, Y., Kang, S. B., Salesin, D. H., Pan, Y., & Shum, H. Y. (2006). Animating Chinese paintings through stroke-based decomposition. ACM Transactions on Graphics (TOG), 25(2), 239-267.

Yan, F. (2012). A Multisemiotic Analysis of a Chinese Long Scroll Painting. In Multimodal Texts from Around the World (pp. 196-216). Palgrave Macmillan, London.

Yang, G. (2021). Inheritance and development of national elements in contemporary Chinese, American and Russian oil paintings. Linguistics and Culture Review, 5(S2), 1-15.

Yang, L. J., Xu, T. C., & Wu, E. H. (2016). Sketch-based Stroke Generation. Sci China Inf Sci, 59(1).

Yang, L., & Xu, T. (2013). Animating Chinese ink painting through generating reproducible brush strokes. Science China Information Sciences, 56(1), 1-13.

Zhang, L. (2013). Nature and landscape in the Chinese tradition. In New perspectives on the research of Chinese culture (pp. 1-15). Springer, Singapore.

Zhang, Q. (2015). The Treasure House of Ancient Chinese Literature and Art. In An Introduction to Chinese History and Culture (pp. 319-351). Springer, Berlin, Heidelberg.

Zhuang, R. (2013). Study on Chinese painting freehand brushwork. In Informatics and Management Science I (pp. 639-645). Springer, London.