CHANGES IN THE PARADIGM OF CHINESE LANDSCAPE PAINTING (LATE 1970S – EARLY 1990S)

Abstract

For various reasons, stemming from China's historical and cultural development, the image of the landscape held a prominent place in Chinese fine art. As a result, the landscape in art became a “hostage” not only to artistic trends but also to the political experiments and changes that occurred in the country – particularly after 1949, with the establishment of the People's Republic of China.Accordingly, when, in the late 1970s, the political situation in China changed once again and processes began that are referred to as the country's liberalization, often compared to a breakthrough from the recent period of “isolation,” this immediately affected the development of art. Landscape painting was no exception.Of course, any scholar studying the transformation of Chinese art in its modern history pays attention to the period covering the late 1970s to the 1990s. These processes are of great interest to art historians in Ukraine who focus on Chinese art from this time. However, in our opinion, these developments are only addressed in a preliminary manner within Ukrainian art criticism. To gain a deeper understanding, it is necessary to incorporate the latest publications by Chinese researchers in order to compare the internal perspectives of these processes with their external analysis.Based on this, this publication includes an analysis of several scientific works by contemporary Chinese researchers. Bao Fusheng and Li Juan examine the transformations in Chinese art as a whole within the specified chronological framework. Li Weifan focuses on the development of art in one of China's central provinces. Chang Xinyuan explores the transformation of landscape art in the 1980s, and this theme is further developed into the 1990s by Li Jingyi and Tang Yiping, with a continued emphasis on regional characteristics.