Lin Fengmian from the Perspective of The Anxiety of Influence
Jing Wang, Shuyan Yi, Shuai Wang
Abstract
Open-access reader
Jing Wang, Shuyan Yi, Shuai Wang
Abstract
Open-access reader
The traditional Chinese art history studies has always concerned the style and the form and the connotation and some self-discipline question.This article attempts to use the "anxiety" consciousness of tradition art history of Norman Bryson who is the representative of "New art history", in view of creative interpretation of Chinese artist Lin Fengmian's thought to the reform of art "Chinese Western harmony theory", in order to provide a new perspective and new ideas to art history studies.
OpenAlex reports 2 citations for this work. Citation counts describe recorded attention and do not establish research quality.
A contribution statement is not available in the OpenAlex record.
Method details are not available in the OpenAlex metadata.
Findings are not separately available in the OpenAlex metadata.
Limitations are not available in the OpenAlex metadata.
Application details are not available in the OpenAlex metadata.
The traditional Chinese art history studies has always concerned the style and the form and the connotation and some self-discipline question.This article attempts to use the "anxiety" consciousness of tradition art history of Norman Bryson who is the representative of "New art history", in view of creative interpretation of Chinese artist Lin Fengmian's thought to the reform of art "Chinese Western harmony theory", in order to provide a new perspective and new ideas to art history studies.
Key concepts: Perspective (graphical), Harmony (color), Interpretation (philosophy), Connotation, Consciousness, Aesthetics, Style (visual arts), Epistemology