ANIME AESTHETICS IN EASEL PAINTING IN CHINA 2000– 2020: INTERPRETATION OF THE THEME OF CHILDHOOD

Abstract

In the mid-2000s, along with the rapid development of Internet resources, amateur and professional animation began to spread in China. "Donghua" (translated from Chinese as "animation") is a unique genre of art that is gradually gaining momentum in Chinese culture and influencing the development of many art forms, including contemporary easel painting in China. Chinese artists Jie Xu, Liu Ye, Li Zikai, and others are actively adopting the aesthetics and narrative elements of animation, integrating them into their work, which leads to the emergence of a unique cultural phenomenon based on the synthesis of visual and plastic arts. Most of these artists achieved worldwide recognition in the wake of the "opening of China" period in the early 1990s. In their work, artists often refer to the theme of childhood, using it to express their memories, emotions, and reflections. The influence of Donghua stimulates artists to use symbols and metaphors, which can be either a direct quote from the animation or an interpretation of certain motifs and themes. Most of the artists' paintings are made in series, which are dedicated to the "life" of one fictional character and resemble "freeze-frames" from animated films. This adds new dimensions to the development of easel painting, enriching it with modern concepts and commercial strategies. Under the influence of Donghua, Chinese artists create a unique synthesis of traditional art and modern animation techniques, making art more interactive, expressive, and meaningful. Due to their great love for their history and traditions, Chinese artists repeatedly turn to folklore and legends in their work, using, along with the latest techniques, the stylistic features of national ink painting.