THE WAYS OF STILL LIFE DEVELOPMENT IN CHINA DURING THE FIRST HALF OF THE TWENTIETH CENTURY

Abstract

The article examines still life as an independent genre of Chinese painting. The research focuses on the first half of the twentieth century – a period of profound transformation in both the socio-political and artistic life of China. The aim of the study is to identify the main trends in the development of still life as a genre-thematic domain of Chinese painting during the first half of the twentieth century. Methodology. The research methodology combines general scientific and specialized approaches, including systematization, typologization, formal-stylistic, comparative, and semantic analyses. Scientific novelty. For the first time, this study highlights the diversity of artistic movements and the creative achievements of artists of the first half of the twentieth century within the context of still life as a pictorial genre. Research results. The article reveals the key tendencies in the conceptualization of still life among representatives of various movements, aesthetic concepts, and schools of thought. It establishes that the aesthetic range of still life interpretation encompassed both traditional methods and imagery, as well as innovative approaches. The aspiration to renew the pictorial language of painting fostered the adoption of Western artistic principles in the treatment of still life – such as chiaroscuro, three-dimensional spatial construction, and the depiction of material texture – which found expression within the traditional “New Year’s greetings” model. The introduction of Western academic art education further stimulated the development of still life as a genre not restricted by conventional thematic frameworks. Practical significance. The findings, observations, and visual materials presented in the article significantly enhance the general understanding of the evolution of Chinese art and may serve as valuable resources in academic, educational, and creative contexts.