THE FORMATION OF THE MODERNIST VISUALITY OF WOMEN'S PAINTING IN REPUBLICAN CHINA IN THE FIRST HALF OF THE 20TH CENTURY: THEMATIC AND GENRE REPERTOIRE

Abstract

The purpose of the article: the problem of the thematic and genre repertoire in the painting of women artists in the context of the processes of forming the modernist face of Chinese fine art of the first half of the 20th century. Methodology. Historical-chronological and comparative analysis methods are used in the research. The method of figurative and stylistic analysis was used to interpret the works of art. Scientific novelty. The research made it possible to reveal and show the special role of a peculiar genre form of "hidden" self-portraiture (Pang Yulian, Sun Duochi). The meaning of the genre of still life, which was used by women artists not only as a means of demonstrating mastery of the oil technique, but as a space for experimentation with Western stylistic artistic languages: primarily Fauvism, post-impressionism, and expressionism, has been clarified and expanded. Conclusions. Based on the study of Chinese, the formation of the modernist face of female painting in Republican China of the first half of the 20th century is shown. It is revealed that the processes of the formation of modernism took place on the basis of the originality of the thematic and genre repertoire. The special role of figurative representation of female artists encouraged more active work in the self-portrait genre. An important theme in the works of Chinese female artists was female physicality, represented both in the manner of writing nudes (for example, in the genre of nude in the works of Fang Junbi), and in the form of presenting female imagery in genre paintings and portraits. Practical meaning. The researches of Chinese scientists introduced into scientific circulation can be used for further research into the problems of women's painting and art of later times, scientific and practical support of broad gender studies.