No. 2 (25) (2022), Art of the 20th – 21st centuries
No. 2 (25) (2022)

The Yellow River in modern Chinese painting: artistic image and means of its expression

Art of the 20th – 21st centuries
UDC 75:7.047(282.2)(510) DOI: https://doi.org/10.46748/ARTEURAS.2022.02.002
Published 2022-06-30
Huang Yuanpeng
Far Eastern Federal University, Vladivostok, Russian Federation
https://orcid.org/0000-0002-9326-9126
861121819@qq.com
Qin Tingting
China Academy of Arts, Beijing, China
mcqtt163@163.com
Выпуск № 2 (25) журнала «Искусство Евразии»
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Keywords

image of the Yellow River, Chinese painting, spatial composition, color, stroke texture

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How to Cite

Yuanpeng, H., Tingting, Q. (2022) ‘The Yellow River in modern Chinese painting: artistic image and means of its expression: UDC 75:7.047(282.2)(510)’, The Art of Eurasia, (2), pp. 26–35. doi:10.46748/ARTEURAS.2022.02.002.
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Abstract

Modern Chinese artists, expressing the image of Yellow River, use special means of artistic expression to convey thoughts and emotions related to the perception of nature and life in general. The individual language of the painter is the means that maximizes the artist's creative intent. And each successful work emphasizes the unique methods of artistic expression of the master's idea. The originality of the individual form of expression is also influenced by the environment in which the creative personality of each artist is formed, the cultural context (regional cultures are also of great importance), the long-term formation of an individual way of thinking and the education that the painter receives. The peculiarity of the regional cultural heritage and the special landscape of the Yellow River Basin have created the original style of many artists. The study of an individual artistic language is associated with several aspects: spatial composition, coloring, stroke structure, and others. This article analyzes the image of the Yellow River in modern Chinese oil painting, as well as the individual approach of a number of artists to its expression.

DOI: https://doi.org/10.46748/ARTEURAS.2022.02.002

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