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 explores the peculiarities of the conceptual and stylistic foundations of the Chinese easel painting traditions of the second half of the 20th century – the 21st century. The thesis is presented that Chinese painting, with all its traditionality and variability, is the interaction of many factors: religious, political, natural resources and others. Natural resource factors determined the national outlook of Chinese artists. The nature, geographical location of China, its majestic mountains and rapid rivers served as a source of creative inspiration for painters who worked in the landscape genre "mountains – water". It has been proven that various factors influenced the development of easel painting in the second half of the 20th century. The emergence of various currents, because of the political events that took place in the country, became characteristic. After the end of the Cultural Revolution, artistic ideas became more independent. The "art of scars" style emerged and actively developed. Many Chinese artists and art critics took advantage of China's grandiose art heritage, philosophical achievements, and concepts with their own special national features, which created favorable conditions for the emergence and development of the "rural realism" style. The direction of "neorealism" became an interesting feature of Chinese oil painting and influenced it later and in the postmodern period. At the end of the 20th century, realism again began to actively develop in the art of China, experiencing significant transformations of artistic images reflected in painting. This fact testifies to the dominant role of realism in Chinese fine art regardless of the historical period and is also characteristic of modern art. After the introduction of the reform of openness in art in China, the liberation of the creativity of Chinese artists from political pressure began. The easel picture is filled with a new theme. Chinese artists begin to visit other countries, get to know their culture, can visit the largest European and American museums and galleries. All this contributed to the penetration of modern trends in painting into easel painting. Many Chinese artists, without abandoning traditional painting, begin to create their new style.