The dissertation is devoted to the problem of the stylistic feature formation in Chinese easel painting and their transformation in the ХХ‒ХХІ centuries. The work analyzes realism, impressionism, expressionism, and postmodernism, which influenced the formation of the unique features of easel art in China.
The relevance of the study is based on the importance of researching the processes of artistic creativity evolution in the socio-cultural and political changes context that took place in the second half of the ХХ century. This is a period of global transformations in Chinese art that contributed to significant changes in the genre structure. The end of the ХХ century is characterized by the significant development of new artistic movements, including modernism, postmodernism, avant-garde, pop art, etc. Easel painting, being an important component of this process, has undergone changes in its genre and style, integrating new techniques, conceptual approaches and visual solutions. Of particular relevance in this context is the study of easel painting adaptation to social and political conditions, globalization, commercialization and digital technologies.
The study of the stylistic and genre features of the second half ХХ–ХХІ centuries easel painting will allow us to better understand the artistic language evolution, trace the processes of interaction between traditions and innovations, and identify trends in the contemporary Chinese art development. This topic is relevant for determining the artistic priorities of contemporary Chinese artists in the context of cultural and technological progress.
The object of the study is easel painting in China in the second half of the ХХ‒ХХІ centuries. The subject of the study is the stylistic and genre features of contemporary easel painting in China.
The dissertation is based on the general scientific principle of historicism and an integrated approach that uses the methods of general scientific knowledge: empirical and theoretical methods. Theoretical research methods are aimed at analyzing the properties of the stylistic traditions of easel painting in China during this period, as well as the processes that contributed to their transformation at this time. Empirical research methods are based on the observation, comprehension and comparison of existing information to identify the objective patterns by which the stylistic traditions of easel painting in China were formed and transformed in the second half of the ХХ‒ХХІ centuries. The methodological foundations of the scientific research are based on special methods of formal, historiographical, figurative and stylistic, artistic and historical analysis. From semiotic analysis point of view, the compositional scheme of any easel painting is considered as the artist's transmission of aesthetic and semantic information.
