The topic of the research is the problem of the synthesis of Chinese and Western artistic traditions, as well as the renewal of traditional art in the work of the outstanding Chinese artist Liu Haixu (1894-1994). The object of the research is the paintings of Liu Haixu, especially his experiments on the integration of Chinese painting techniques with the expressive means of Western modernism. The author examines in detail such aspects as the evolution of Liu Haisu's artistic style, his pioneering development of the ink and color spray technique (po-mo po-tsai), as well as his theoretical views on the nationalization of oil painting and the modernization of guohua. Special attention is paid to how, through the reconstruction of the artistic language, Liu Haisu managed to achieve the dual goal of preserving cultural identity and establishing a modernist aesthetic, which makes his experience an important model for understanding the modernization processes in Chinese art. The research uses an interdisciplinary approach combining comparative analysis of Chinese and Western art theory, stylistic and formal analysis of works, as well as the historical and cultural context of the development of painting. The main conclusions of the study are as follows: Liu Haixu became a pioneer of the integration of the Chinese painting tradition with Western artistic concepts, which marked a new stage in the development of Chinese painting of the XX century. The author's special contribution to the study of the topic is a systematic analysis of the evolution of Liu Haixu's artistic style: from early experiments with Western oil painting to the creation of a unique technique of "ink and color spraying" (po-mo po-tsai) in Chinese painting. The scientific novelty of the study consists in a comprehensive assessment of the influence of European post-Impressionism, Fauvism, and the aesthetics of Van Gogh, Cezanne, and Matisse on the formation of Liu Haisu's innovative artistic language, as well as in identifying his theoretical views on the synthesis of East and West. The work highlights the importance of rethinking classical Chinese aesthetics in the context of modernization and globalization of the artistic process.
JIANYONG LIN (Mon,) studied this question.