Welcome to Francis Academic Press

Academic Journal of Humanities & Social Sciences, 2022, 5(15); doi: 10.25236/AJHSS.2022.051511.

A Successful Example of the Combination of East and West in Modern Contemporary Cultural History--On the Art of Chinese Oil Painter Zao Wou-ki

Author(s)

Xiao Jin

Corresponding Author:
Xiao Jin
Affiliation(s)

Nanjing University of Information Science & Technology, Nanjing, Jiangsu, 210044, China

Abstract

Literature and art are an essential part of contemporary cultural history, and Chinese technology, poetry, drama, fiction, calligraphy, painting and sculpture are the quintessence of Chinese culture. In his image, Zao Wou-ki has achieved outstanding success by combining Chinese folk art with Western oil painting. After he settled abroad, his homesickness and his reflections on Chinese culture and art prompted him to consciously take into account the philosophical and aesthetic outlook of Chinese national art in his oil paintings while striving to incorporate the sentiments and aesthetic standards of Chinese national art into his oil paintings with varying degrees of success. The conscious pursuit of Chinese national art is, therefore, fundamental to the in-depth analysis of the characteristics and connotations of the works of overseas Chinese oil painters. This article attempts to analyse the influence and embodiment of Chinese folk art in Zao Wou-ki's oil paintings in terms of composition, brushwork and the pursuit of mood and to study the conscious incorporation and tracking of Chinese folk art in the works of Chinese oil painters.

Keywords

contemporary cultural history, oil painting, Chinese national art, integration, Zao Wou-ki

Cite This Paper

Xiao Jin. A Successful Example of the Combination of East and West in Modern Contemporary Cultural History--On the Art of Chinese Oil Painter Zao Wou-ki. Academic Journal of Humanities & Social Sciences (2022) Vol. 5, Issue 15: 77-81. https://doi.org/10.25236/AJHSS.2022.051511.

References

[1] Jianping S., & Heqing H. (1985). Zao Wou-ki on Painting. New Art (03), 62-65. 

[2] Yinjie, L. (2005). Zao Wou-ki and the Spirit of Chinese Art. (Masters). Shandong Normal University, Available from Cnki 

[3] Xiaozhou X. (1998). Tracing the Artistic Journey of Zao Wou-ki. Fine Art Watch (10), 73-74+48. 

[4] Xiaoke S. (2019). A Study of the Language of Colour in Contemporary Chinese Oil Painting. (PHD). Hunan Normal University, Available from Cnki 

[5] Yanguang L. (2014). A study of the compositional elements of Zao Wou-ki's abstract paintings. (Masters). Fujian Normal University, Available from Cnki 

[6] Chenghao W. (2010). The Roots of Tradition - A Test of the Spirit of Chinese Art in Zao Wou-ki, Chu Teh-chun and Wu Guanzhong. Literary Controversy (08), 100-102. 

[7] Boxun W. (2012). Oil Paintings - Nationalisation. (PHD). Central Academy of Fine Arts, Available from Cnki 

[8] Xiang G. (2008). The Life of Abstraction - Reflections on the Paintings of Zao Wou-Ki. Journal of Yunnan Arts College(03), 45-49+41+97+102. doi:10.16230/j.cnki.yyxb.2008.03.014

[9] Min W. (2009). Interpreting the Master Zao Wou-ki. Journal of Chongqing Institute of Science and Technology (Social Science Edition)(05), 162-163. doi:10.19406/j.cnki.cqkjxyxbskb.2009.05.085

[10] Man Z. (2010). Experimenting with the Nationalization of Chinese Oil Painting. (Masters). Zhengzhou University, Available from Cnki

[11] Li L. (2013). Chu Teh-Chun and Zao Wou-Ki's Path to Abstract Painting. Journal of Nanjing Art Institute (Art and Design Edition)(05), 171-174.