NEW WINDSOCKS OF CHINESE ART IN THE 20th CENTURY

ABSTRACT

History always has an amazing degree of similarity, no matter European literature and art or Asian culture, all have a text that can be told, the history of the parts of world's art is also the history of the art of the world, art is immersed in the long river of history, the big waves of gold, and ultimately some outstanding people and their great epoch-making works. The background of social life, the spirit of society and the spiritual life of the times in each era are expressed in the appearance of artworks at that time, and people also happen to ignore the artistic spirit and character behind them at this time, and just use "art" to enhance their own rank and social status. Before the 20th century, Chinese art, under the influence of traditional art concepts, took root steadily, with both good and bad effects, and indirectly contributed to the "art debate" between the old and the new and the emergence of new trends in painting in the first and middle part of the 20th century.

АННОТАЦИЯ

История всегда имеет удивительную степень сходства, неважно, европейская литература и искусство или азиатская культура, у всех есть текст, который можно рассказать, история мирового искусства также является историей мирового искусства, искусство погружено в длинную реку истории, большие волны золота, и в конечном итоге некоторые выдающиеся люди и их великие эпохальные произведения. Фон социальной жизни, дух общества и духовная жизнь времени в каждую эпоху выражаются в появлении произведений искусства того времени, и случается, что люди игнорируют художественный дух и характер, стоящие за ними в это время, и просто используют "искусство" для повышения собственного ранга и социального статуса. До XX века китайское искусство под влиянием традиционных художественных концепций постоянно укоренялось, что имело как хорошие, так и плохие последствия, и косвенно способствовало "художественным дебатам" между старым и новым и появлению новых направлений в живописи в начале и середине XX века.

Keywords: aesthetic ideals, changing times, new windsocks of fine arts.

Ключевые слова: эстетические идеалы, меняющееся время, новые ветры изобразительного искусства.

INTRODUCTION

The twentieth century was an important period of transition in the history of Chinese art, deeply influenced by social changes, political movements and cultural exchanges. During this period, art masters such as Zhou Xiang, Xu Beihong and Gao Jianfu, with their unique art theories and practices, actively promoted the development of Chinese art, especially in terms of revolutionizing art styles, education systems and art concepts. Their contributions are not only reflected in their art creations, but also in the fact that they laid down a new direction for the development of Chinese art and promoted the fusion of traditional and modern art.

Zhou Xiang, as an outstanding art educator and art theorist, made important contributions to the reform of China's art education system. Xu Beihong, on the other hand, created a new dimension in modern Chinese painting by combining Western artistic elements with traditional Chinese art, while Gao Jianfu's Lingnan School of Painting not only inherited traditional techniques, but also added unique and innovative elements to promote the rise of the Southern style of art. The ideas and works of the three artists not only responded to the needs of the times, but also pointed out the direction for the development of Chinese art in the 20th century, and became an important symbol of the new vane of Chinese art in this period.

This article will explore the profound influence of Zhou Xiang, Xu Beihong, and Gao Jianfu on the development of Chinese art in the 20th century, analyzing how they promoted the modernization of Chinese art through their contributions to art education, creativity, and theory, as well as how their artistic practices led to a new wind direction for Chinese art.

Materials and Methods

lit. look across the mountains and see peaks on either side, different heights near and far (idiom); different places for different heights

During the Northern Song Dynasty, the famous Chinese poet Su Shi wrote a thousand famous lines, which we can use today to make an analysis of Chinese art in the 20th century, and the key point of the analysis is precisely the aesthetic ideal and spiritual latitude in the changing times. China's Tang Dynasty (618-907), Song Dynasty (960-1279), Yuan Dynasty (1206-1368), Ming Dynasty (1368-1644), and Qing Dynasty (1616-1911).Any dynasty has its own important representations of artistic and spiritual life, including early realistic painting (brush painting was at its height during the Tang dynasty),Including the Italian missionaries Matteo Ricci and Giuseppe Castiglione.They were sent to China as missionaries in 1582 and 1715 with a large number of Western paintings,it also includes the introduction of European drawings and sketch [14].

Picture 1. Matteo Ricci

Picture 2. Matteo Ricci and Xu Guangqi

Picture 3. Matteo Ricci Museum

Picture 4. Ricci Beijing Cemetery

Picture 5. Giuseppe Castiglione (1688-1766) Jesuit who served as Qing court painter for 50 years

Picture 6. Emperor Qianlong by Giuseppe Castiglione

Picture 7. Adding oil painting perspective to traditional Chinese painting techniques to create a horse by Giuseppe Castiglione

Picture 8. Painting of hundreds of steeds by Giuseppe Castiglione

Speaking of the sketching introduction one must mention a great Chinese art educator of the late 19^th and early 20^th centuries, Zhou Xiang, one of the pioneers of modern art in China, who spent his life seeking to pass on his knowledge of European art as a curriculum to future generations [21].

Zhou Xiang, (1871-1933), character Yinhou, No. Yinan, was born in a family of scholars, attended private school since childhood, loved painting and calligraphy, and had good character, studied landscape painting under the famous Shanghai painter Yang Bo Run, figure painting under Qian Hui’an, and landscape painting, figure painting under Hu Bishan, Wu Dazhou Chou, Wang Qiu’yin, Hu Gongshou, Jin Bao’san, Zhou Cun’bo, and other celebrities. In the period from 1898 to 1907, he successively studied western oil painting and sculpture in Japan, England, France, and so on, as well as light, light, dark, and color, and other textural expressions. From 1898 to 1907, he studied Western oil painting and sculpture in Japan, England, and France, and sketched the texture and expression of form, light, light and dark, and color. After work, he went to Belgium, Switzerland, the United States, and other places to study the similarities and differences in art. In 1907, Zhou Xiang, who had returned to China after his study abroad, founded a training center for scenic painting in Shanghai’s Baxianqiao, and in 1911, he founded China’s (Shanghai’s) first school with a sketching course and the Shanghai Oil Painting Institute, etc. The first batch of trainees included a few famous artists and educators in China later on, including Liu Haisu, Xu Beihong, Zhang Bingguang, Wang Yadong, Ding Creepy, and Chen Buoy, etc. Mr. Zhou created while he was working, and he also worked as a painter. Mr. Zhou was engaged in art education while creating, and the total number of students reached 5,000 in more than 20 years of teaching. In 1919, he and Wu Mengfei, Feng Zikai, Liu Qiping, Jiang Danshu, Xiao Xue, and Hu Huaichen initiated the founding of the ‘Chinese Society for Aesthetic Education’ in Shanghai and produced and published the monthly magazine ‘Aesthetic Education,’ which summarizes and promotes the teaching of fine arts, music, dance, and drama, and incorporates them into the level of national aesthetic education. It is precisely because of the excellent pioneers of aesthetic education in the context of the times that the aesthetics of Chinese painting now stands shoulder to shoulder with the traditional classical aesthetics of the time, just as a dream factory was born on top of a traditional building, drawing on Western materials without losing its traditions, so that people can gradually feel that the national art can only create the spirit of the nation [7].

Picture 9. Zhou Xiang（1871-1933）

Picture 10. Zhou Xiang's Works 29x36cm

Picture 11. Zhou Xiang's Works 145x75cm

Prior to this, the classical Chinese aesthetic ideal was based on "harmony and unity", and the harmony referred to here is not "harmony with each other", but rather an unchanging inheritance, with no trend of innovation in the general direction. It is self-evident that they do not like each other, and this kind of dislike has become the wind vane of artists' "rebellion". Under the impact of the traditional aesthetics of teacher-trainer relationship and the new art education, the Chinese art in the 20th century has ushered in a great change, and the "old aesthetic system and consciousness" and "new aesthetic system and consciousness" have been created in the debate gradually. Gradually, the confrontation between the "old aesthetic system and consciousness" and the "new aesthetic ideal" emerged in the debate, while the mainstream of the times eventually chose the aesthetic ideal, because there is hope only when there is an ideal [18]. Of course, the two in the category of fine arts have always existed in the era of change under the irreconcilable opposites, as today's art development in the rapid development of science and technology every year to produce a new "lighthouse", and in the early 20th century in the context of an average of 5-10 years there will be a new trend of development, even if it is small, but exists. Because the traditional aesthetics emphasizes the subject and object, man and nature, individual and society, as well as rationality over sensibility of the creation of the balance of the rules of the limitations, and the emergence of China's emerging art trends in the 20th century wind vane, direct reference to the beauty of the education, freedom, enjoyable, and sensibility over rationality, after the old aesthetic system rather than rebuilding, is the refurbishment. Because in the long history, the existence of slavery, feudalism, there is no real sense of seeking common ground while reserving differences, more often than not, the excessive prominence of opposing factors, the existence of emphasis and neglect, the existence of a large number of negatives, etc., resulting in the idealization of the seeking common ground while reserving differences has become a ‘polarization in the expression of artistic creation and practice,’ and this is precisely the problem with the concept of consciousness of global art that is happening at the moment [22]. Art is not right or wrong, the word art is a contradiction, so when we comment on works of art, in fact, at most, we can only comment on the form, structure, color, etc. For their own ontology whether they like it or not, but not with the author itself resonance, which also gave birth to the late 20^th century, ‘image and sound,’ is also a kind of artistic creators, but also a kind of ‘image and sound.’ In fact, it is also a kind of helplessness of art creators, but also the inner needs of art creators, the purpose is to let readers and viewers feel the works more directly, forming a closed loop of expression and feeling. This is not like the subjective expression of the authors of Impressionism, Fauvism, and deconstruction art. When we see each piece of artwork, the thoughts, and opinions we have about it are the true feelings of our heart, and the integrity of the piece of artwork. Contemporary art nowadays is said to be ‘un-nutritious,’ but all of us are ‘contemporary artists:’ living a trivial life, working in daily life, and working hard [12].

The trend of Chinese art in the 20^th century, is also so, idealized aesthetics and the reality of the increasing collision of the rules, breeding a whole lot of unnecessary strife, the word tolerance, from ancient times to the present day, did not realize, the so-called tolerance, in fact, is only the individual’s ideal form of art under the rules of the system of non-exposure only, the so-called art, but also just for their own not for others. Like the art collision of Asian and European plates, the most important through line may actually be the background of the times of the tide, and each tide will produce an excellent ‘captain,’ and ‘helmsman’ has many, ‘crew’ also has many, and ‘crew’ also has many, and the ‘helmsman’ has many, and the ‘helmsman’ has many, and the ‘helmsman’ has many, and the ‘crew’ has many, and the ‘crew’ has many. There are many ‘helmsmen’ and many ‘crew members,’ and every time you go to sea, it’s a friction between the old and the new. the great thing about the pioneers of Chinese art in the 20^th century is that they were excellent ‘captains,’ who dared to explore and encourage innovation, which lasted for nearly a hundred years, and finally won a hundred flowers blossoming in a variety of flowers and flowers, rather than a training institution: A teacher behind a group of replicas, that is not art, much less aesthetic education, that is to kill the talent. Art shouldn't be popular art, and popular art can't be called art, it's called technology at best. Art is an individual expression of emotion that is divorced from the general cultural norms of society, and is inherently opaque, just like a Chinese proverb, which we need to translate in order to understand it, and everyone has their own version of the translation, but the general meaning remains the same, and this is the art of language, not the recitation of the same translation, and this is also true of the art of painting. But fortunately, against this backdrop, there still exists an aspirant who has a heart for his country's art and dedicates his life to revolutionizing Chinese art as much as his master did, and that person is none other than Xu Beihong [3].

Xu Beihong (1895-1953), in 1915 when he was studying, was valued by Gao Jianfu, the founder of the "Lingnan Art School of Painting" [5], and later met a large number of pioneers, including Kang Youwei, on the new wave of ideas about the transformation of Chinese art. 1917 Xu Beihong was invited by the President of Peking University, Mr. Cai Yuanpei, to serve as a tutor in Peking University, and then studied abroad from 1919 to 1927, and then devoted to the transformation of Chinese painting with realism, unlike the "application of techniques" of missionaries. After 1919-1927, Xu Beihong went abroad to study, and after his return to China, he was influenced by Zhou Xiang and Gao Jianfu, and then devoted himself to the transformation of Chinese painting with realism, which was different from the "application of techniques" of the missionaries, but after his own systematic study of Western art. At the same time, Xu Beihong, Chen Shizeng, including a group of artists, closely linked to different art forms in Eurasia, complementary to the shortcomings, improve Chinese painting, respect for the aesthetics of realism, a correct grasp of the old and the new art forms and concepts, starting from the real life of the fusion of Western painting and realistic techniques to shape the contemporary figure, and gradually become the ideal wind vane of the art of the times. At the same time, artistic concepts, creative methods, etc. often appear to repeat the old problems, only rational logical analysis coupled with the rhythm of the times to grasp, in order to sublimate, resulting in the emergence of the "New Literati Painting" in 1980, the emergence of the "Modern Ink Painting" in 1990, which was criticized by the world as "new literati painting" and "modern ink painting". It was an important development step that in 1980, "New Literati Painting" appeared, and in 1990, "Modern Ink Painting" appeared. The world's praise and condemnation of them are mixed, but looking back at the original intention, these practices are the new starting point of the modern transformation of Chinese painting, which is not wrong, which is right? The change of the century in Chinese art has been described by many researchers as a result of the influence of "European art", and the starting point of their argument is limited to the large number of "imported Western paintings" in the innovation stage of contemporary Chinese painting [11]. However, looking back at the long history of China, such an introduction is not a copy, but an artistic renewal in response to the changes of the times [16]. As a matter of fact, Chinese art in the twentieth century presented and expressed an outlook on the times and creative practices that were very different from those of Western art, and the so-called borrowing served as a benign catalyst, not copying and pasting.

Picture 12. Beihong Xu（1895-1953）

Picture 13. Beihong Xu，running horses

Picture 14. Beihong Xu，running horses

Picture 15. Beihong Xu, horse

Picture 16. Oil Painting by Xu Beihong, The Five Hundred Soldiers of Tian Heng（1928-1930）

lit. not know the true face of Lushan Mountain, but only because one is here (idiom); fig. not know the true nature of Lushan Mountain but only because one is here

Gao Jianfu advocated that traditional Chinese painting should contain the scientific methods of Western painting, and that the creation of artwork should include: natural climate, temperature, sense of space, composition, inscription, and a wide choice of subjects, etc. [1]. Around 1920, when Mr. Gao put forward this viewpoint, it caused a heated artistic controversy between traditional and new painting. Xu Beihong updated his viewpoint after the New Culture Movement, "From ancient times to the present, masters of art have come and gone, those who paint badly need to work harder, those who think old-fashioned need to learn more to improve their knowledge base, those who do not do enough need to learn more, and we can adopt more Western paintings and learn more from them and practise more", and the viewpoints from this angle are more likely to make people feel more at ease with the arguments raised by Mr. Gao. Mr. Xu Beihong's new ideas played a major role in the development of Chinese art in the 20th century: turning theory into practice and applying it to systematic teaching, encouraging innovation, and taking "form and spirit" as the highest goal of realistic painting in creation and teaching, which later became Chinese New Realism. He believed that traditional realism in painting is infinitely close to the object itself, which is meaningless to paint after a long time; and traditional pictorialism is too subjective, ignoring the objectivity and logic of the object [9]. Therefore, after eight years of study in France, he proposed a "new seven methods" based on the six methods of traditional Chinese painting: vivid chiaroscuro, bone brushwork, responding to the shape of the object, assigning colors according to the type, managing the position, and transmitting the modeling, and on top of that, he proposed "the new seven methods": appropriate position, accurate proportion, clear black and white, movement and gesture, lightness and urgency, character traits, and transmitting the spirit of the painting. This method is based on the Western painting tradition. Such a method is based on the objective visual foundation of Western painting, such as perspective, anatomy, light and shadow. Analyzed from an aesthetic point of view, his viewpoint favors the subjective character of creative thinking, which is precisely the trend of the later development of Chinese painting and the true meaning of art. Therefore, the history of art development is the history of the evolution of the norms of art forms, the step-by-step trajectory of the evolution of artistic language feeling, while constituting the logical convergence of formal creation and the spirit of the times [2].

Picture 17. Gao Jianfu (1879–1951)

Picture 18. Gao Jianfu: Flames of the Battlefield, 1932

Picture 19. Gao Jianfu: White Phoenix on the Mountain, 1913

Research Findings

By studying the artistic contributions of Zhou Xiang, Xu Beihong and Gao Jianfu and their influence on the development of Chinese art in the 20th century, the following major findings can be drawn:

1. Zhou Xiang's profound influence on art education

As one of the founders of modern art education in China, Zhou Xiang made important contributions to the modernization of China's art education system by advocating an educational model that integrated Western art theories with traditional Chinese art techniques. Zhou promoted the reform of teaching in China's art schools, especially in the areas of basic painting training and art theory, emphasizing the combination of traditional techniques and Western painting skills, and advocating the cultivation of innovative artists through systematic art education. Zhou Xiang's educational philosophy led to the gradual transformation of Chinese art education into a diversified and modernized one, and produced a large number of artistic talents with an international outlook and local characteristics.

2. Xu Beihong's Shaping of Modern Chinese Painting Style

Xu Beihong is one of the representative figures of modern Chinese art. His creations combine Western realism with traditional Chinese painting techniques, creating a style of painting that "blends the East and the West". He emphasized that artists should have solid basic skills and independent creative thinking, and promoted the development of Chinese modern art by "learning from the West and creating China". Xu Beihong's artistic theories and creative practices enabled Chinese art to gradually break away from traditional limitations and laid the foundation for the diversity and modernity of Chinese painting styles in the 20th century.

3. Gao Jianfu's Inheritance and Innovation of Lingnan School of Painting

As one of the core figures of the Lingnan School of Painting, Gao Jianfu emphasized the inheritance of traditional techniques and made innovations based on them. Gao Jianfu inherited the delicate and realistic features of southern painting, while absorbing the elements of modern western art to promote the innovative development of the Lingnan School of Painting. He emphasized "personal style" and "natural expression" in artistic creation, and encouraged artists to seek breakthroughs based on tradition. Gao Jianfu's influence made the Lingnan School of Painting an important school in the development of Chinese art in the 20th century, and formed a southern art style with unique charms.

4. Jointly promoting the modernization of Chinese art

Although these three masters had different styles, they jointly promoted the modernization of Chinese art. By combining Western artistic ideas with traditional Chinese culture, they did not only promote the innovation of Chinese painting techniques, but also changed the social perception of art to a certain extent, and promoted the liberalization and diversification of artistic creation. Zhou Xiang's educational philosophy, Xu Beihong's painting style, and Gao Jianfu's innovation of the Lingnan School of Painting became the new wind vane for the development of Chinese art in the 20th century, and provided valuable theoretical guidance and creative inspiration for later artists.

To summarize, the artistic contributions of Zhou Xiang, Xu Beihong and Gao Jianfu marked a historic turn in Chinese art education and creative practice, and their influence did not only push forward the development of Chinese art, but also provided a powerful impetus for the formation of Chinese art styles and the innovation of artistic thought in the 20th century.

Conclusion

The transformation and development of Chinese art in the 20th century was deeply influenced by the profound influence of three masters of art, Zhou Xiang, Xu Beihong and Gao Jianfu. Through the analysis of their artistic concepts and practices, it can be clearly concluded that the three artists promoted the new vane of Chinese art in different fields and levels, and profoundly shaped the direction of Chinese art in the process of modernization, from the education system, artistic creation to the innovation of art genres.

First, Zhou Xiang brought about the modernization of art education through his reforms in the field of art education. He did not only pay attention to the inheritance of traditional art, but also focused on the introduction of modern art concepts and techniques, which enabled China's art education system to gradually get rid of the single traditional model and gradually develop towards diversification and modernization. Zhou Xiang's educational ideas laid the foundation for the development of Chinese art education from "technique" to "creativity", and inspired later artists to pay more attention to personalization and free expression in their creations.

Secondly, Xu Beihong's artistic creations and art theories provided a clear direction for the "modernization of China". He demonstrated the possibilities and future direction of modern Chinese art by fusing Western realistic techniques with traditional Chinese painting. The artistic concept of "blending the East and the West" that he advocated not only promoted the modernization of Chinese art, but also led to the innovation of artistic styles and the opening of ideas. Xu Beihong's practice provided a powerful model for Chinese artists to step out of the traditional constraints and create art forms more in line with the needs of the times.

Finally, Gao Jianfu's Lingnan School of Painting represents the rise and innovation of Chinese local art. On the basis of inheriting the traditions of the Lingnan School of Painting, he promoted the combination of local artistic styles with modern art, highlighting the diversity and independence of local cultures on a national scale. Gao Jianfu not only deepened the modern transformation of traditional art, but also brought a diversified perspective to the development of Chinese art, emphasizing the unique value of local culture in the process of globalization.

Taken together, the contributions of Zhou Xiang, Xu Beihong, and Gao Jianfu to Chinese art in the twentieth century constitute a new vane for the development of art. They promoted the modernization of art education, the diversification of artistic creation and the innovation of local genres, which enabled Chinese art to gain a new vitality in the interweaving of tradition and modernity, the West and the local. In the future, the development of Chinese art should continue to innovate and integrate on the basis of respecting tradition, focusing on the improvement and renewal of the art education system, while maintaining tolerance and support for multicultural values, which will provide a strong impetus for the continued rise of Chinese art on the global art stage.

After all, the 20th century in China was an era of exploration, and the subsequent centuries have confirmed this view, as the exploration, pursuit, and turnover of the 20th century were all key steps on the road to artistic innovation [7]. At the gate of the 20th century, Chinese society left the feudal system and entered the turbulent period of the democratic revolution, when the New Culture Movement was first launched to criticize the feudal and traditional culture and to create a modern civilization. It was also at this time that a large number of aspiring young people, including Xu Beihong, Lin Fengmian, Liu Haisu, Wu Dayu, and other artists who had returned from study abroad, together with the active people who cared about the development of the new art career, set off the wind and waves of new ideas in art education. The ideas and theoretical views of Zhou Xiang, Xu Beihong, and others also marked the real transition of Chinese art from the classical to the modern form of art, and since then, Chinese painting art has officially entered into a hundred flowers. Since then, the art of Chinese painting has officially entered the era of blossoming, and new artistic trends have sprouted...

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