Works of the artist Zeng Fanzhi in the dialogue of traditions of Western European and Chinese painting

Abstract

This article is dedicated to analysis of the works of a contemporary artist Zeng Fanzhi in the context of dialogue of traditions of Western European and Chinese painting. The author reviews the stages of formation of this original artistic manner that combines different stylistic approaches and techniques; reveals the key artistic peculiarities of his works – from referring to Western expressionism to formation of an individual style. A detailed analysis is conducted on the principles of conceptual art of Zeng Fanzhi realized in the use of meaningful images and symbols, such as “masks”. The author examines the methods of abstract painting in the works of Chinese artist reflected in the technique of “chaotic brush”, which is based on the expressive linear abstractions. In the period after 2018, which marks the period of experimental painting, Zeng Fanzhi combines the artistic methods of Paul Cézanne with the concept of traditional Chinese art, with the “found object” technique, offering a completely new interpretation of the works of Chinese classical painting. The article discusses the specificities of linear constructs and brush strokes in the artist’s works for determining the features common to his works of various periods. A conclusion is made that the paintings of Zeng Fanzhi represents a visual manifestation of harmonious interaction of the Western European and Chinese art tradition. Each stylistic approach used by Zeng Fanzhi demonstrates a profound understanding of painting, reveals his creative interpretation of artistic principles of Western European art that formed as a result of personal experience and high level of education. Chinese painting entered the era of non-modernism, remaining in many ways similar and simultaneously different from the art of Western modernism and postmodernism.

Fusion Analysis of Chinese Painting Color Teaching and Intelligent Image Color Processing Technology

“…e research on nonphotorealistic technology first appeared in two papers by Wang [11] in the 1980s [11]. Wang [12] published two influential papers at the Siggraph conference in 1990, but the technology they demonstrated was treated in isolation at that time. Now researchers have made bold attempts on various artistic styles, giving people a refreshing feeling, which reflects that computers have great prospects in Chinese painting with intelligent image color processing technology [12].…”

“…Wang [12] published two influential papers at the Siggraph conference in 1990, but the technology they demonstrated was treated in isolation at that time. Now researchers have made bold attempts on various artistic styles, giving people a refreshing feeling, which reflects that computers have great prospects in Chinese painting with intelligent image color processing technology [12]. Compared with photorealistic rendering, nonphotorealistic rendering is different in the implementation method and the scope applicable to performance.…”