СУЧАСНИЙ КИТАЙСЬКОМОВНИЙ ДИСКУРС ПРО КЛАСИЧНІ КИТАЙСЬКІ ЖИВОПИС І КАЛІГРАФІЮ: ЦІЛЬОВЕ ДОСЛІДЖЕННЯ КОМУНІКАТИВНОГО УСПІХУ

Abstract

The study of the vernacular discourse of professional groups promises rich insights into terminology usage, tenor dynamics, and ideas about the field. This research is stimulated by the inquiries of the arts and culture museums’ audiences eager to discover current attitudes towards traditional Chinese arts within the Sinosphere. It compares the Putonghua discourse of two groups of Chinese artists: established painters and calligraphers from the PRC and online content creators at various career stages. It examines their attitudes toward traditional painting and calligraphy and the language devices they use to express these attitudes, identifying both similarities and differences in ideas and speech tenor. The multimodal aspect of online publication is considered too. The study reveals a key difference in attitudes: established artists view artistic practices as “hard work”, while online creators frame them as a “source of enjoyment”. Linguistically, online creators avoid archaic grammar; speak in neutral tone to appeal to broader audiences, they occasionally use archaic lexes in artistic names. Established artists frequently employ archaic vocabulary and grammar deriving from the prestige language of wenyan. Yet similarities prevail over differences. Both groups take pride in their artistic heritage, viewing their art as a marker of patriotism and a device of self perfection. Rhetorically, both use metaphors from other industries and create puns. Precision in artistic terminology is highly valued by both groups and their audiences, as it signals professionalism and enhances communication. Both groups enrich their discourse by using synonyms for common hypernyms. Using inductive methods, these findings provide qualitative characteristics of contemporary Chinese-language discourse on traditional painting and calligraphy. This discourse demonstrates richness, adaptability, effectiveness in community building, and potential for cross-cultural communication. The summary of its messages translated into Ukrainian may help the Ukrainian auditory get a deeper understanding of the artistic processes in the Sinosphere.