The theme of Tibet in the works of modern Chinese painters Luo Zhongli and Ai Xuan

Chinese painting at the turn of the XX-XXI centuries is distinguished by a historically unprecedented variety of techniques, artistic styles and genres. The emergence of oil painting in China broke the monopoly of traditional water-based glue painting, but not its leadership based on synthesis with calligraphy. The article describes the current stage of development of realistic oil painting in China. The works of artists Luo Zhongli (born in 1948) and Ai Xuan (born in 1947) were selected for analysis. Using examples of their paintings, which have become widely known in China, the process of sinization of Western aesthetics of oil painting is studied and the significance of Tibetan themes in modern Chinese painting is considered. The relevance of the topic is due to the fact that Western art criticism does not pay due attention to Chinese oil painting artists, as a result of which Western viewers and collectors are poorly prepared for Chinese auctions and exhibitions. The article comprehensively uses art history description, philosophical and aesthetic analysis, cultural methodology and sociological approach

Aesthetics · Archaeology · Art · Calligraphy · China · Chinese art · Chinese painting · Exhibition · Oil painting · Painting · Visual arts · Chinese history and philosophy · Computer Science · Digital Media and Visual Art · History · Sustainable Urban and Rural Development