Indigenous Spirituality of Chinese Oil Painters in Europe in the Early 20th Century


The Chinese painters who studied in France in the early 20th century produced many oil painters with an indigenous style, such as Changyu and Zao Wou-ki. This thesis will theorise the issue of indigeneity at the level of critical debate and shed light on the indigenous spiritual beliefs and worldview behind the work of this group of oil painters. By doing so, it will help the audience to better understand and interpret the issue of indigeneity in Chinese oil painting. To help better support the painter's views on the issue of indigenisation, this essay will draw on textual analysis, case studies, specifically interviews with the painter and those around him, textual materials, and exhibition records, in order to gain a deeper understanding of the indigenous spiritual beliefs of Chinese oil painters. This essay illustrates the use of the 'Chinese heart' of Chinese painters in oil painting and reveals the indigenous spiritual beliefs of this group in the face of new cultural forms. Through such historical combing and case studies, this article attempts to inform and enlighten the systematic study of traditional Chinese subject matter and its aesthetic integration with Western art in modern Chinese art history.

Author Information
Gengyang Ren, University of Wales Trinity St David, United Kingdom

Paper Information
Conference: ECAH2023
Stream: Arts Theory and Criticism

This paper is part of the ECAH2023 Conference Proceedings (View)
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To cite this article:
Ren G. (2023) Indigenous Spirituality of Chinese Oil Painters in Europe in the Early 20th Century ISSN: 2188-1111 – The European Conference on Arts & Humanities 2023: Official Conference Proceedings
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Posted by James Alexander Gordon