The dissertation is devoted to the scientific discourse of the study of traditional Chinese painting in European and American art history from the Renaissance in Europe to 1949, when the Communist Party of China came to power in the People's Republic of China. The dissertation considers the main stages of the historical and cultural context of the scientific discourse on traditional Chinese painting, its perception by European authors at different stages of intercultural dialogue between China and Western countries. A research of Chinese fine arts, which during the XX century became widespread in Europe and the United States, had its historical stages. In recent decades, in European and American art studies have become particularly relevant research related to the history of scientific thought on the formation of preconditions for professional art sinology, cultural and artistic exchange between China and the Western world, with the dynamics of changes in artistic and value assessments of Chinese art, in particular painting, its place in the history of world art. Today in European and American art history, despite the great scientific path that spans several centuries, there is considerable controversy over the conformity of European art terminology to traditional Chinese painting, the appropriateness of certain periodizations, the conformity of styles and styles of art in Europe and China. The study of art discourse on traditional Chinese painting is a relevant topic in both Ukrainian and global contexts, because, despite the great interest in this problem, a holistic picture of this process has not yet been built. Thus, the object of research is traditional Chinese painting, and the subject is the scientific discourse of the study of traditional Chinese painting in European and American art history, catalysts, ideas, categories and periodization of scientific discourse.
In the dissertation for the first time considers the scientific discourse of the study of traditional Chinese painting in European and American art history as a holistic phenomenon; the question of interpretation of traditional Chinese painting in scientific works of European scientists from the Renaissance to the middle of the XX century, and scientists of the United States of America of the XIX – the middle of the XX century is investigated; identified features of the scientific discourse on traditional Chinese painting in Europe and the United States; the stages of development of the scientific discourse on traditional painting in China by the circle of art critics of the Western world are determined; a comprehensive systematization of disparate material on the scientific discourse on traditional Chinese painting in Europe and the United States; improved understanding of the place and role of traditional Chinese painting at different stages of development of European and American art history; the study of the role of collectors and the museum community in the discovery of traditional Chinese painting in Europe and the United States was further developed.
The work consists of an introduction, four chapters, conclusions, a list of sources and appendices.
