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DOI: 10.15862/10KLSK126 (https://doi.org/10.15862/10KLSK126)

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Zhang X. [Russian abstractionism and the formation of artistic subjectivity in contemporary Chinese painting] World of Science. Series: Sociology, Philology, Cultural Studies, 2026, Vol. 17, No. 1. Available at: https://sfk-mn.ru/PDF/10KLSK126.pdf (in Russian). DOI: 10.15862/10KLSK126

Russian abstractionism and the formation of artistic subjectivity in contemporary Chinese painting

Zhang Xiao
Transbaikal State University, Chita, Russia
E-mail: 272442254@qq.com
ORCID: https://orcid.org/0009-0007-0510-2064

Abstract. In the context of globalization, the question of the origins of contemporary Chinese art and the processes of its cultural adaptation has gained particular relevance. Russian abstractionism, as a significant current within modernist art, has long remained overshadowed by the dominant Western modernist narrative, which necessitates a reconsideration of its role in transnational art history. The specific geopolitical and cultural dialogue between China and Russia throughout the twentieth century resulted in the influence of the Russian avant-garde extending beyond the formal borrowing of artistic language and becoming part of the ideological and modernization processes that shaped the development of the Chinese artistic environment. The dissemination and reception of Russian abstractionism in China are examined in this article as a process of intercultural interpretation. Particular attention is paid to the active role of Chinese artistic circles as subjects of interpretation who selectively adopt, adapt, and reinterpret borrowed artistic forms. Drawing on reception aesthetics, the study analyzes how the «horizon of expectations» in different historical periods influenced the interpretation of Russian abstract art in China. The methodological framework combines historical-cultural analysis, stylistic and iconographic approaches, and case-study analysis of artistic practices. The structure of the article follows a historical logic, moving from channels of cultural interaction to the transformation of formal language and conceptual models of artistic practice. The study concludes that the influence of Russian abstractionism contributed to the formation of subjectivity in contemporary Chinese abstraction, functioning as a mechanism of intercultural synthesis and creative localization.

Keywords: Russian abstractionism; contemporary Chinese painting; cultural translation; reception aesthetics; transnational reception; creative localization; artistic subjectivity

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