No 8 (2025)

The phenomenon of painting by Chinese literati is examined in the contextual aspect of the possibilities for its inheritance in the era of digital technology. The main problem of the research is related to the necessity of finding modern means of preserving, reproducing, and developing the heritage of Chinese literati painting as an established cultural practice. A characteristic feature of traditional cultural practice is the complexity of linking the content of the object of inheritance with the tools of its reproduction. This feature is considered as a cultural-anthropological problem. Traditions related to the unique phenomenon of Chinese culture, which combines poetry, calligraphy, and painting with a special way of demonstrating works in scrolls, represent a complex of ritual actions, features of material carriers, and visual culture, united by the concept of "passive journey in contemplation," based on the ethical-aesthetic ideas of Daoist philosophy. In order to find modern ways to convey the practice of connecting the content of the artifact and the tools of its reproduction as a cultural-anthropological problem, a methodology is employed that includes a general scientific method of empirical description of the historical features of the phenomenon, a method of axiological analysis of the artistic imagery of Chinese literati painting, and related problems of inheritance. For the first time, the issue of inheritance of Chinese literati painting as a cultural practice is structured in a cultural-anthropological aspect, including a complex of rituals, characteristics of the material carrier, and visual-aesthetic features of the synthesis of painting, poetry, and calligraphy. In the search for approaches to the preservation, reproduction, and development of the heritage of Chinese literary painting, the main areas of vulnerability of modern means and the environment of the digital age are indicated. As a forecast, necessary measures for preserving traditional forms of art as a cultural practice are proposed to coordinate the range of parameters of the visual appearance of its objects, such as: color range, tone range, and graphic range, in close connection with the development of a multimodal approach to preserving heritage based on the analysis of ethical-aesthetic ideas of Daoist spiritual teachings. As a result, it is concluded that the justification of the ethical-aesthetic principle in the cultural-theoretical conceptualization of the phenomenon of literary painting in China is essential for preserving its heritage.

This article is devoted to the piano concerto "Yellow River" ("Huanghe"), created in 1969 by a group of Chinese composers under the direction of Yin Chengzong. Written during the Cultural Revolution, the work marks a new stage in the flourishing of the concerto genre in the musical life of the PRC and contributes to the development of the country’s instrumental and performing culture in the second half of the twentieth century. The relevance of the research topic lies in the absence of scholarly studies on the genre-specific features of the "Yellow River". The aim of the study is to reveal the genre originality of Yin Chengzong’s piano concerto. This aspect seems to be significant not only in the field of musicology, but also for advancing the situation of cultural policy and educational activities in the field of art in China and beyond, including in Russia. The methodological basis of the research is a comprehensive approach, with special attention paid to the analysis of its figurative and semantic content, musical-stylistic characteristics, and structural-dramaturgical features, which made it possible to identify its genre nature. It is emphasized that the "Yellow River" remains not only a musical masterpiece but also a historical document reflecting the complex path of China in the postwar period. The concerto demonstrates a convincing artistic synthesis of European and national musical traditions. The analysis presented in the article identifies the main thematic spheres of the piano concerto as well as the tone-painting techniques shaped by its programmatic character. It was found that Yin Chengzong employs traditional Chinese expressive means and folk performance practices, combining them with the foundations of Western classical composition, thereby reflecting broader processes of globalization in China’s musical culture. The main conclusion of the analysis is that the invariant features of the concerto genre are preserved in the "Yellow River", while organically combining the characteristics of the concerto, suite, symphonic poem, and piano transcription. The study confirms that the concerto has become a representative example of an individual interpretation of the genre and a hallmark of the Chinese piano school on the international stage. Understanding the genre-specific features of the "Yellow River" helps to clarify the inherent musical, compositional, and technical meanings of the concerto and facilitates its proper interpretation in musical-pedagogical and performance practice.

The article explores the transformation of the philosophical and aesthetic principles of Chinese oil painting within contemporary artistic practices, addressing the broader issue of cultural identity preservation under the conditions of globalization. Modern Chinese oil painting examined as a dynamic field of interaction between national traditions and Western artistic forms. The subject is defined as the processes of cultural translation and artistic adaptation through which Western techniques and media—including digital painting, video art, VR/AR installations, and other new media practices—are reinterpreted within the framework of Chinese cultural categories such as xieyi, qiyun, Daoist philosophy, and the aesthetics of emptiness. Special attention is given to the creative strategies of major Chinese painters, whose works represent diverse approaches to synthesizing traditional aesthetics with Western visual languages. These case studies demonstrate that Chinese oil painting is not a mechanical adoption of foreign forms but a space of cultural creativity, where the principles of calligraphy, ink painting, and philosophical contemplation are reconfigured through the material and expressive resources of oil on canvas. The methodological framework combines the cultural theory of translation, postcolonial perspectives (hybridity, mimicry, interstitiality), and interdisciplinary approaches to art analysis. This allows for an integrated interpretation of Chinese oil painting both as an artistic phenomenon and as a mediator of intercultural communication. The research highlights how the medium functions as an institutionalized practice that transmits cultural memory, fosters collective identity, and participates in global cultural diplomacy. The scientific novelty of the article lies in identifying the role of Chinese oil painting as a mediator between tradition and innovation, the local and the global, the national and the universal. By sustaining philosophical depth while adopting new forms and technologies, Chinese oil painting affirms its resilience to cultural transformation and secures a special position within the contemporary global art space.

The article explores the transformation of the philosophical and aesthetic principles of Chinese xieyi painting in contemporary artistic practices and addresses the problem of preserving cultural identity under the conditions of art internationalization. The object of the study is contemporary Chinese oil painting as a space of interaction between national and Western traditions. The subject is the processes of visual and technical reinterpretation of the xieyi style in the practice of modern Chinese painters. It is argued that authorial strategies combining traditional figurative thinking with Western techniques turn oil painting into a medium of cultural continuity and adaptation of the national visual code to new artistic and social contexts. Special attention is paid to the works of Zhu Dequn and Wu Guanzhong, in which the techniques of Chinese ink painting—such as the spiritualized brushstroke, poetic imagery, and compositional spontaneity—are integrated with the chromatic, textural, and spatial structures of Western oil painting. The methodological framework includes iconographic analysis, cultural interpretation of artistic concepts, and hermeneutic reading of the cultural spirit embodied in the works. The novelty of the study lies in identifying the mechanisms through which the fundamental values of the Chinese visual tradition are preserved while being adapted to new technical and cultural environments. This contributes to the broader understanding of cultural hybridity in global art history, revealing how the synthesis of aesthetic codes not only sustains national identity but also expands the interpretive potential of oil painting within transnational artistic dialogues and strengthens its relevance in contemporary cultural theory.