THE CONCEPTUAL AND STYLIST BASIS OF THE TRADITIONS OF EASELE PAINTING IN CHINA IN THE SECOND HALF OF THE 20TH CENTURY – XXI CENTURY

Abstract

The article presents an analysis and investigates the peculiarities of the functioning of Chinese easel painting under the influence of Western European trends on the example of the second half of the 20th century – the 21st century. Many questions related to the research of the essence of the formation of easel painting in China attracted the attention of numerous domestic and foreign scientists, but the analysis of their scientific works and other leading specialists allows us to conclude that many questions still need doctrinal elaboration. As a result, the purpose of the article is a comprehensive and doctrinal analysis of the conceptual and stylistic foundations of the functioning of Chinese easel painting under the influence of Western European trends, using the example of the second half of the 20th century – the 21st century. Research methodology. The methodological basis of the article is a pluralistic and complimentary combination of modern general philosophical and philosophical and legal approaches, general scientific and special scientific methods, techniques, and principles of scientific knowledge, due to the uniqueness of the subject of research, necessary to ensure its objective study. In the most general worldview, the functioning of Chinese easel painting under the influence of Western European trends is based on a dialectical approach. The scientific novelty of the article lies in the fact that for the first time an attempt has been made to comprehensively characterize and define the essential features of the functioning of Chinese easel painting under the influence of Western European trends on the example of the second half of the 20th century – the 21st century. The relationship between Chinese traditional painting and European traditions, which became objective determinants of changes in the specificity and essence of painting within the studied chronological framework, was studied. It is concluded that in modern Chinese culture, the traditional principles of painting retain their relevance, serving as an object of investment, a source of inspiration for artistic creativity, a national brand in cultural industries, a heuristic element of synthetic arts, in particular, those based on modern computer technologies. Modern Chinese artists synthesize the traditions of Western and Chinese painting to enrich their author's style, but the traditional style remains beloved as an expression of ethnic originality, classical aesthetics, and the richness of ancient Chinese culture.