The main stages of artistic cultural exchange between Beijing and Moscow from the 1950s to the present

Li Pingan Postgraduate student; Department of History and Theory of Art; St. Petersburg State University of Industrial Technologies and Design 199397, Russia, Saint Petersburg, Beriga str., Beriga str., 27 bldg. 2 877094230@qq.com

The exchange of cultural values between China and Russia, which has been carried out since the middle of the twentieth century and continues to the present day, is a phenomenon that deserves attention in the context of the study of cultural interactions. In the period after World War II, against the background of ideological confrontation, cultural exchanges acted as a means of diplomacy, contributing to strengthening ties and mutual respect between the two states. The organization of exhibitions, theatrical productions, film projects, as well as visits by high-ranking delegations, which contributed to raising the cultural level and restoring dialogue, became important moments contributing to cultural interaction.

The study of publications on cultural events and exhibitions in China and Russia allows for a deeper understanding of the mechanisms of formation of cultural ties between the two countries. The variety of approaches and forms in the implementation of cultural exchange between China and Russia demonstrates the process of their adaptation to cultural changes. Today, many researchers from different countries are studying cultural and artistic exchanges between these two countries. Examples of such studies include the works "Introduction of Liu Yi Xian to the History of Cultural Exchanges between China and Russia in the Heilongjiang region", "Communication and Influence of Chinese and Russian Cultures" by Qi Xiongjun, "Discussion of Culture" by Liu Liu, as well as Wang Xuejing's research on cultural exchanges between China and Russia after the end of the Cold War and their the impact on bilateral relations. In general, these studies focus on analyzing the impact of cultural exchanges on relations between countries ^[1]. Thanks to the principles of historical analysis of scientific publications, as well as a systematic description of methodological manuals, articles, their comparison with each other and generalization, it became possible to identify foreign policy, social and cultural factors that contributed to the development of relations between Russia and China during the period under review.

Russian-Chinese relations were also studied through the method of systemic and structural analysis, due to which the author identified the driving forces of cultural exchange between the countries, as well as determined their nature. From the standpoint of studying various factors and causes that influenced the formation of cultural exchange between Russia and China, methods of deduction, induction, description, explanation and other suitable methods were applied. In general, the complex of research methods used contributed to the most extensive disclosure of the topic of this article and the presentation of the main stages of artistic cultural exchange between Beijing and Moscow from the 1950s to the beginning of the 21st century. Through the use of retrospective and historical and cultural analysis, the author identified the main stages, analyzed them and presented the results in this study. In general, the methodology of this study is represented by a fairly extensive number of applied methods and techniques of theoretical research, which indicates a deep study of the entire material layer.

Starting from the 18th century, such relations began to develop in Russia, thanks to which interaction with China manifested itself in a difference in cultural and national approaches. Researcher V.L. Larin, as an expert on bilateral relations between the regions we study, suggested that, in general, both civilizations – both Chinese and Russian – remain interesting to each other in terms of ethnocultural penetration ^[3]. However, other researchers – for example, C. Jia, G. Krieger and others noted that due to such a seemingly "confrontation", it became urgent to search for common cultural features that would later develop into a real synthesis of two multifaceted cultures ^[3].

In the early 1950s, Beijing and Moscow historically presented themselves as centers of cultural and artistic development, as well as the exchange of these practices at the international level. Cooperation between the two above-mentioned cities began to develop actively and continues to this day.

At the beginning of the 21st century, cultural exchange between Moscow and Beijing achieved significant results, especially in terms of educational activities and the exchange of pedagogical practices in the visual arts, as evidenced by numerous exhibitions of artists, master classes, as well as festivals held in both Russia and China. The relations of friendship and mutual understanding have strengthened, and, according to researchers, such interaction not only contributes to the synthesis of artistic language, but also to the search for new types and forms of it ^[8].

In the 1950s, cultural exchange was seen as a tool for reaching diplomatic agreement and a key element in the education of Chinese students in the field of Russian painting. Many authors point out that it is of great importance to hold master classes, since they are especially important for synthesizing the artistic traditions of the two countries and mixing them with national and cultural characteristics. It is also important to involve as many ordinary citizens as possible in exhibitions, since they primarily have a general aesthetic contribution and help artists understand whether their "language" is accessible to everyone or whether it is specific ^[2].

It should be noted that cooperation between the Soviet Union and China in the 50s and 60s developed most actively in other forms of art: literary evenings and literary exhibitions, numerous theatrical compositions, film screenings and much more were available to all citizens and were very popular. Cultural events and festivals were organized in the capitals of China and Russia and, above all, carried the idea of sharing experience and knowledge, attracting a large number of students and teachers to share this experience. All this contributed to the preservation of the cultural code of each country and certainly developed social and political interaction.

The reforms that took place in the 1970s opened up new frontiers for international communication for China and this had a huge impact on the development of the country's art. During this period, it is worth noting especially the holding of art and culture festivals, which were organized in Beijing and Moscow, which demonstrated all the latest achievements of both countries in the field of art and especially in the artistic direction. Thanks to such festivals, a huge number of artists were able to present their works, as well as gain invaluable new experience.

A series of art festivals that took place in the 80s and 90s presented new opportunities for the demonstration of visual arts in Russia and China. Expositions of the life of the peoples of China were presented in Moscow and aroused great interest. In Beijing, everyone could see the best works of Russian artists. These events were also significant in the life of both countries and in the fate of the cultural exchange that took place between them ^[11].

The policy of openness, which was actively promoted in China at the time we are considering, helped not only to deepen cultural dialogue, but also, in general, became the engine of a new cultural breakthrough. Festivals, events, exhibitions organized in support of the political cultural "challenge" strengthened bilateral ties between Russia and China, and also contributed to the creation of new platforms for discussing further cultural exchange events.

The artistic exchange between China and Russia in the 21st century as a whole has led to the fact that cultural practices have already become an obligatory component of all events held in both countries. Beijing and Moscow acted as cultural capitals, which were able to achieve complete mutual understanding among themselves.

Due to the fact that a huge number of exhibitions have been held in both countries over the entire period of cultural development, Russian masters have made a significant contribution to the development of art, and Chinese artists have also been able to enrich the culture of Russian fine art. Russian artists have introduced new technical approaches to Chinese culture, enriching their own artistic language through interaction with Chinese culture ^[9]. The visiting exhibitions in Beijing strengthened cultural ties, giving the Chinese audience the opportunity to get acquainted with the work of contemporary Russian artists, which aroused considerable interest. The diversity of Russian culture resonated with Chinese viewers, raising issues of ecology, social justice and promoting international cooperation.

The implementation of mobile exhibition projects has contributed to the intensification of cultural exchanges within the Russian Federation. The arrival of Chinese artists in Russia and the organization of exhibitions by them gave an impetus to rethinking the cultural characteristics of each country, opening up new horizons for cooperation.

Konstantin Methodievich Maksimov (1913-1994) is a famous artist of the RSFSR, who received Stalin Prizes and was recognized not only at home but also abroad. His active work led him to Beijing – to the Central Academy of Arts, where he got thanks to the USSR Ministry of Culture in 1995. After graduating from the Moscow Art Institute named after V.I. Surikov in 1943, K.M. Maksimov became actively interested in the cultural traditions of China and began to study Chinese oil painting. His trip to the academy in Beijing can be considered a truly first experience for China, when a teacher and an artist from Russia realized the exchange of traditions of pictorial art.

K.M. Maksimov created a group, which he taught with great pleasure. Maximov had a significant influence on the development of Chinese oil painting, appreciating local fine art and providing constructive criticism and advice for its improvement. His contribution to the training of Chinese artists in a new realistic direction in art was met with great respect at the Central Academy of Arts of the People's Republic of China.

The educational program developed by Maximov for Chinese students included such disciplines as the basics of drawing and painting, general art history and the theory of Marxism-Leninism, and lasted two and a half years. This course combined theoretical studies with artistic practice, which contributed to the rise of art education in China to a new level.

Maximov's arrival in China became a key moment in the history of teaching oil painting in the country, contributing to the qualitative development of art education. Many of his students, including Jin Shangyi, Zhan Jianjun, Hou Yimin, Feng Fasi, He Kunde, became famous artists whose works made a significant contribution to the art of oil painting in China^[2].

K.M. Maksimov, an outstanding figure in Russian science and art, has played a key role in the study of cultural ties between Russia and China since the 1950s. He stressed the importance of these relations for deepening mutual understanding and strengthening ties between the countries, highlighting the role of the Central Academy of Fine Arts in Beijing in promoting friendship with Russian artists. To this day, K.M. Maksimov is highly respected in China, his contribution to the development of art and education is marked by exhibitions and meetings of his students dedicated to his memory and legacy.

China's reforms to modernize the country have served as a key incentive for the start and development of Russian-Chinese cooperation in the field of culture, according to many scientists from both countries. The state strategy, which had a significant impact on the reforms in the field of art education in China, is based on two factors: support from the USSR in various aspects of bilateral relations, including economic, information and intellectual exchanges; the desire to improve access to information and new artistic forms for the Chinese population, taking into account national traditions and the specifics of perception.

In essence, it became possible to implement truly large-scale projects for cultural exchange between Moscow and Beijing in the 1990s. This time can be described as a time of great cultural policy: various exhibitions, festivals, events, round tables touched not only the visual arts, but also music, cinema, theater, ballet. This was inextricably linked with the celebration of the anniversary of the founding of the People's Republic of China. Days of "Chinese Culture" were held in many Russian cities in 1997-1998: they affected Vladimir, St. Petersburg, and Suzdal. Khabarovsk and other cities, and in China – Shanghai and Beijing. The Ministries of Culture of both countries actively supported the holding of all events, as well as carried out official visits to friendly cities. For example, in 1998, the Minister of Foreign Affairs of the People's Republic of China, Tang Jiaxuan, paid an official visit to Russia. Its purpose was to sign international agreements, according to which cultural exchange and departure of representatives of culture and art from one country to another were further carried out in order to popularize national cultural traditions.

Further, in 1999, the countries celebrated the 50th anniversary of the founding of the People's Republic of China and the 50th anniversary of the establishment of diplomatic relations, in connection with which festivals and exhibitions were also held, concerts of Russian and Chinese musicians and master classes of artists were organized ^[8].

In the 1990s, the artistic exchange between the two capitals included touring bands, film festivals, as well as art and photo exhibitions as part of twinning ties. In the period 1997-1998, cultural days were organized under the auspices of the Ministries of Culture of both countries, covering a number of cities in Russia and China. In addition, 1997 was also marked by the release of the first joint feature film "The Magic Portrait", aimed at a children's audience and created jointly by Russian and Chinese screenwriters and actors ^[2].

In 1999, Moscow became an arena for significant cultural events. And in June 2001, on the eve of the vote on Beijing's bid for the right to host the 2008 Olympic Games, the "Beijing Culture Week" in Moscow contributed to an increase in Russians' interest in Chinese culture and increased Beijing's chances of success ^[7].

It should also be noted that in 1999, the Chinese cultural sphere celebrated the 200th anniversary of Alexander Pushkin's birth by republishing his works and releasing a commemorative series with the participation of President Jiang Zemin at the final event of the week dedicated to Pushkin. The same year marked the 50th anniversary of the establishment of diplomatic relations between Russia and China, marked by a number of events, including concerts and performances by artists from both countries. In 2000, in honor of the 55th anniversary of Victory in World War II, Russian bands presented the program "Songs of the War Years" in China and took part in the International Festival in Beijing ^[6].

Since the beginning of the 21st century, cultural exchanges between China and Russia have been actively developing, including the organization of exhibitions of artists from both countries. These events, such as the exhibition "East in Impressions – China through the Eyes of Russians" in 2015, illustrate the growing interest in each other's art and culture. The exhibition of Russian ink paintings at the Chinese Cultural Center in Moscow and the contribution of collectors such as I.V. Zakharova emphasize the importance of cultural exchanges for strengthening bilateral relations and attracted more than 100 thousand visitors.

Cultural and artistic exchanges between Russia and China perform a twofold function: on the one hand, they contribute to the spread of Chinese traditional culture in Russia, on the other hand, they pose certain barriers to its integration. The study of the mutual influence of cultures and artificial practices of the two countries on their bilateral relations opens up opportunities for reflection on the methods of presenting the traditional art of the Chinese people to the Russian audience ^[5]. The main task of studying cultural and artistic exchanges is to develop effective strategies for their promotion. The innovativeness of such research lies in the analysis of the transfer of cultural and artificial traditions of China and Russia from the point of view of Russian modernity. An analytical review and synthesis of data on the culture and art of both powers are of key value for studying the lessons of the past and further development in this area.

Turning to the Chinese of the older generation with questions about Soviet songs, you can hear mentions of such compositions as "Katyusha" and "Moscow Evenings". At the same time, there is a lack of knowledge about Chinese songs among residents of the former Soviet Union in the 60-70 age group. This highlights the asymmetry in cultural understanding between the two peoples, extending to literature and cinema.

The films "Lenin in October" and "Lenin in 1918" are deeply rooted in the minds of the Chinese people, while in modern Russia they are practically forgotten. Interestingly, Russian classical ballet has become known to many Chinese thanks to these films, which is a good example of cultural exchange. Chinese art is still popular in many countries today, however, it is in Russia that it is especially loved, appreciated and sought to preserve in its original form ^[3].

Studies of intercultural exchange in the field of art, emphasizing the mutual influence of cultures, are becoming increasingly popular. They consider the processes of assimilation of artistic ideas and trends, highlighting the stages of acceptance, assimilation, adaptation and interpretation. The problems of intercultural dialogue in the visual arts cover not only the interaction of national and ethnic cultures in the field of creativity, but also the interrelation of various historical epochs and styles. Special attention is paid to the modern understanding of the history of artistic culture in the context of museum, exhibition, curatorial and educational activities.

Significant events in cultural exchanges between the countries were, in particular, the performances of the ensemble from the Xinjiang Uygur Autonomous Region in Moscow in 2011. The artists of the Beijing Opera, who arrived at the Moscow Theater, presented their creations of national culture, and special attention was paid to the artistic part of the productions.^[4]

Within the framework of the International Program "Peace through Culture" dedicated to the 60th anniversary of the People's Republic of China, a series of events aimed at strengthening diplomatic and friendly ties were implemented, which were attended by representatives of a wide range of fields of activity.

At the same time, much attention was paid to the organized international competition-festival of children's and youth artistic creativity "Open Europe". A huge number of collectives from China and Russia took part in this event, many master classes were held, due to which ties in the field of youth artistic creativity were also strengthened.^[10]

Over the past decade, thanks to the efforts of the Chinese State Foundation for Study Abroad, there has been an increase in the exchange of students and young teachers between countries. An example of active participation in this process is the Stroganov Moscow State Academy of Art and Industry, where, thanks to the interaction of representatives of the two states, artists and teachers working in Russia and China are exchanged.

I would like to note that at the present stage, the dialogue of ethnic characteristics between Russia and China presupposes a very successful development of visual culture in both countries. Achieving the goal of establishing the maximum level of dialogue, the productive interaction of artists forms a truly professional community aimed at integrating cultural traditions. An important place in this integration is also played by the individual viewer, who forms his own special worldview.

In conclusion, cultural exchange between Beijing and Moscow has played a key role in the development of international relations between the two countries since the 1950s and until the beginning of the 21st century. He not only enriched their cultural traditions, but also laid the foundation for further historical and cultural cooperation and the continuation of an aesthetic dialogue that has been going on for more than fifty years.

From the 1950s to the beginning of the 21st century, cultural exchanges between Beijing and Moscow contributed to mutual cultural enrichment and influenced the formation of cultural traditions of both countries, which had a noticeable impact on international relations. In particular, Konstantin Methodievich Maksimov's research on the work of the Central Academy of Fine Arts in Beijing revealed significant aspects of cultural interaction that influenced national and intercultural development in the field of fine arts. The period covered by the analysis is characterized by the emergence of new trends and approaches in art, while artists from Beijing and Moscow actively collaborated, exchanging ideas and experiences, which played a key role in the globalization of cultural space.

Cultural exchange between Russia and China, covering various historical periods, has become a key aspect of their relationship. This collaboration, including the organization of exhibitions in both countries, not only contributed to the emergence of new cultural phenomena, but also provided a platform for discussions about contemporary art and globalization in the art community. Such initiatives have contributed to the preservation of the cultural traditions of both nations in the face of global change.

It should be noted that 2024 and 2025 have been declared the Years of Culture of Russia and China. As part of this initiative, the two countries have planned more than 230 cultural and artistic events in 51 cities in China and 38 cities in Russia. Since the beginning of 2024, China and Russia have been actively involved in dynamic cultural interaction within the framework of this announced year of culture. The successful organization of numerous events within the framework of the Sino-Russian Years of Culture is not only a promising start to the year of culture, but also highlights the solid foundation of the traditional friendship between China and Russia. Based on the bilateral productive and productive relations, it can be concluded that today there is a special spiritual closeness and mutual understanding between the two peoples.

It is believed that the Sino-Russian Years of Culture will give a powerful impetus to exchanges and cooperation between China and Russia in the fields of literature, music, drama, education and other fields, further strengthen the traditional friendship between the two peoples and lay a stronger social foundation for further deepening bilateral relations.