Сравнительное исследование советского и китайского соц-арта
| Rok vydání: | 2022 |
|---|---|
| Předmět: | |
| DOI: | 10.24412/2070-075x-2022-3-70-80 |
| Popis: | В статье предпринята попытка проанализировать репрезентативные произведения советского и китайского соц-арта, установить сходство и обнаружить различия между ними с точки зрения художественного языка и стиля, визуального соответствия, творческой философии, чтобы исследовать причины возникновения этого вида искусства и раскрыть эстетические коннотации соц-арта. Отмечается, что китайский соц-арт во многом наследует советский и развивает заложенные в нем символы и смыслы, однако по-особому их переосмысливает, трансформирует и развивает. The article attempts to analyze the representative works of Soviet and Chinese Sots Art, to establish similarities and differences between them in terms of artistic language and style, visual correspondence, creative philosophy, in order to explore the causes of this type of art and reveal the aesthetic connotations of Sots Art. It is noted that Chinese Sots Art largely inherits Soviet art and develops the symbols and meanings embedded in it, but rethinks, transforms and develops them in a special way. Soviet and Chinese Sots Art are similar in their desire to overthrow traditions and criticize ideology. The works use images of leaders, workers and peasants, contrasted with commercial and consumer images. The impact on perception is formed due to the absurd comparison of the incomparable. The philosophy of Sots Art was the idea of the diversity of options for the organization of the world order, the importance of freedom in human life. It is concluded that Soviet Sots Art is a hybrid variation of Soviet culture and American pop art, a forerunner of Chinese Sots Art. Both of them were “discovered” by the Western media and galleries and successfully transported to the West. Chinese Sots Art has attracted more attention in the market because it appeared at the end of the Cold War, when China began to move towards a globalized market. At the same time, in the Soviet Union, Sots Art was not a commercial art, while in China it reached a high degree of commercialization, providing artists with financial success. Just as Soviet Sots Art quickly disappeared after the Cold War, Chinese Sots Art was soon lost in the 21st century. |
| Databáze: | OpenAIRE |
| Externí odkaz: |
|