Contenuto
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UNITA' DI RICERCA
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Research program
CHINESE PAINTING IN THE XX CENTURY: ARTISTIC, POLITICAL AND SOCIAL ASPECTSUniversity Co-ordinator
Università degli Studi di CAGLIARI - STORICO POLITICO INTERNAZIONALE DELL'ETA' MODERNA E CONTEMPORANEA - CAGLIARI(CA)Research Unit Leader
Emilio BOTTAZZIDescription
Following the itinerary traced by Professor Alabiso, principal responsible of the research, the working group of the University of Cagliari will examine in first place the political, economic and social changes derived from the contact with the west in the XIX century and at the beginning of the XX, changes that made possible the birth of the School of Shanghai, florished in the years 1850-1900, and of the School of Lingnan, flourished in the years 1900-1950, that it had its center in Guangzhou (Canton) in the south of China.Subsequently the Republican Period (1911-1950) will be examined together with the social origin and the political attitude of the artists that, in this period, fought for the affirmation of a national painting (guohua) in contrast with the introduction of the European techniques. They were artists that believed that while innovation was necessary, the progress had to be realized inside the cultural traditions of China.
A group of these artists, among which Wu Changshi, Wang Zhen, Feng Zikai, Chen Hengke and Fu Baoshi were greatly influenced by Japan, where nationalistic culture was in increase. Opposite to these, others as Wu Hufan, He Tianjian, Chang Daijian and Zheng Yong based their work on a return to the classical and extremely refined techniques of the Song and Yuan periods. A third group, dominated by Xu Beihong tried to reform the ink/painting adding to it elements of Western realism.
Furthermore the working group will examine the cultural and social background that allowed the affirmation of Lin Fengmian, who had studied in France, and was named Director of the National Academy of Art of Hangzhou in 1928, where a lot of influential modernists were trained, and Xu Beihong, who had also studied in Europe in the years ' 20, and was named to head the Department of Art of the National Central University in the capital city, where he promoted an opposite practice, that of the academic realism.
A place apart will deserve the other artists that. returned in China after having studied in Japan or in Europe and that were devoted to styles such as post-impressionism, fauvisme and surrealism.
Baldussi
Anarchism and China painting.
Bottazzi
The First Republic intellectuals' influence in the blooming of the new pictorial trends in China.
Congiu
Chinese pictorial schools and the end of the Empire.
Fais
Chinese artists and the western reproduction of reality
Onnis
Art events in the foreign Shanghai during the Thirties.
Pinna
Missionary schools' influence in the art education of the Chinese youth between the Nineteenth and the Twentieth centuries.
