CHINESE STILL LIFE IN SCHOLARLY RESEARCH: HISTORIOGRAPHY, PROBLEMS, PERSPECTIVES

Abstract

The aim of this article is to highlight the main approaches to the study of Chinese still life, to identify gaps in its research, and to outline prospects for further investigation. The article analyzes key achievements in this field, published in Chinese, Ukrainian, English, and French; it outlines a body of scholarly works devoted to, or related to, still life studies; and it identifies the principal approaches to its examination.
It is emphasized that, despite the absence in the art history of dynastic China of a concept equivalent to the Western notion of “still life,” this term has gradually gained justification in scholarly works since the early 21st century. Researchers have identified object complexes corresponding to the notion of “still life” in traditional painting. At the same time, the development of this genre in the 20th century is represented fragmentarily. A particularly problematic issue remains the reception of Western art movements, including the concept of still life, considering the influence of Chinese art.
The study employs methods of scientific research such as systematization, historical-chronological analysis, comparative analysis, and content analysis. The scientific novelty of the results lies in the development of the historiography of Chinese still life with consideration of contemporary studies, which allowed for the identification of both resolved issues and those still insufficiently explored or overlooked by scholars. Additionally, the study substantiates the need for revising research paradigms in still life studies and outlines possible approaches for their application.