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Тема Тибета в творчестве современных китайских живописцев Ло Чжунли и Ай Сюаня
Chinese painting at the turn of the XX-XXI centuries is distinguished by a historically unprecedented variety of techniques, artistic styles and genres. The emergence of oil painting in China broke the monopoly of traditional water-based glue painting, but not its leadership based on synthesis with calligraphy. The article describes the current stage of development of realistic oil painting in China. The works of artists Luo Zhongli (born in 1948) and Ai Xuan (born in 1947) were selected for analysis. Using examples of their paintings, which have become widely known in China, the process of sinization of Western aesthetics of oil painting is studied and the significance of Tibetan themes in modern Chinese painting is considered. The relevance of the topic is due to the fact that Western art criticism does not pay due attention to Chinese oil painting artists, as a result of which Western viewers and collectors are poorly prepared for Chinese auctions and exhibitions. The article comprehensively uses art history description, philosophical and aesthetic analysis, cultural methodology and sociological approach.
At the turn of the 1970s and 1980s, in Chinese oil painting, the pathos of the revolutionary style is replaced by the direction of "village realism painting", in which the so-called "Tibetan group" is formed. The theme of the life of national minorities is framed in a separate genre, but it is the works of Tibetan themes that are the most numerous and are successful at competitions and exhibitions. Luo Zhongli's painting style evolved from realism to neo-expressionism. The Tibetan theme interested the artist at the early realistic stage of his work. The ideological basis of his realistic style in Tibetan subjects was the traditional ideal of "archaic simplicity" (gu pu). Later, Luo Zhongli abandons the Western style of writing, and applies the Chinese technique of linear painting baimiao and strokes-cun in oil painting. Ai Xuan's style, on the contrary, is consistently realistic in combination with techniques of lyrical expressionism. Ai Xuan brings the texture of oil painting closer to the effects of traditional water-glue painting by increasing the transparency of the layers of oil painting.