The Epistemology of “Contemporary Art” Noumenon

1
Cheng Yuan
Cheng Yuan

Send Message

To: Author

GJSFR Volume 20 Issue I1

Article Fingerprint

ReserarchID

876QZ

The Epistemology of  “Contemporary Art” Noumenon Banner
  • English
  • Afrikaans
  • Albanian
  • Amharic
  • Arabic
  • Armenian
  • Azerbaijani
  • Basque
  • Belarusian
  • Bengali
  • Bosnian
  • Bulgarian
  • Catalan
  • Cebuano
  • Chichewa
  • Chinese (Simplified)
  • Chinese (Traditional)
  • Corsican
  • Croatian
  • Czech
  • Danish
  • Dutch
  • Esperanto
  • Estonian
  • Filipino
  • Finnish
  • French
  • Frisian
  • Galician
  • Georgian
  • German
  • Greek
  • Gujarati
  • Haitian Creole
  • Hausa
  • Hawaiian
  • Hebrew
  • Hindi
  • Hmong
  • Hungarian
  • Icelandic
  • Igbo
  • Indonesian
  • Irish
  • Italian
  • Japanese
  • Javanese
  • Kannada
  • Kazakh
  • Khmer
  • Korean
  • Kurdish (Kurmanji)
  • Kyrgyz
  • Lao
  • Latin
  • Latvian
  • Lithuanian
  • Luxembourgish
  • Macedonian
  • Malagasy
  • Malay
  • Malayalam
  • Maltese
  • Maori
  • Marathi
  • Mongolian
  • Myanmar (Burmese)
  • Nepali
  • Norwegian
  • Pashto
  • Persian
  • Polish
  • Portuguese
  • Punjabi
  • Romanian
  • Russian
  • Samoan
  • Scots Gaelic
  • Serbian
  • Sesotho
  • Shona
  • Sindhi
  • Sinhala
  • Slovak
  • Slovenian
  • Somali
  • Spanish
  • Sundanese
  • Swahili
  • Swedish
  • Tajik
  • Tamil
  • Telugu
  • Thai
  • Turkish
  • Ukrainian
  • Urdu
  • Uzbek
  • Vietnamese
  • Welsh
  • Xhosa
  • Yiddish
  • Yoruba
  • Zulu

Contemporary art” is universal, but in international commonality, Chinese contemporary art has its specific problems that it faces: this includes scientific falsification and critique of artistic conspiracy and deception, highlighting the contemporary nature of contemporary art’s cognitive function, and connecting relationship with theory and practice, history and logic between contemporary art and artistic phenomenology, such as “world 2,” “practice-spirit” and behavior, installation, etc., thus welcoming the world identity of “cognitive experience” and “spiritual practice.” From the above three parts, the article identifies, “contemporary art” is a view of problem consciousness, concept, and human beings’ independent personality and dignity. On the historical approach and value orientation, she is not only a historical uplift to the function of art cognition but also a historic approach and representation of the era of “cultural experience” and “civilized practice.

Funding

No external funding was declared for this work.

Conflict of Interest

The authors declare no conflict of interest.

Ethical Approval

No ethics committee approval was required for this article type.

Data Availability

Not applicable for this article.

Cheng Yuan. 2020. \u201cThe Epistemology of “Contemporary Art” Noumenon\u201d. Global Journal of Science Frontier Research - I: Interdisciplinary GJSFR-I Volume 20 (GJSFR Volume 20 Issue I1): .

Download Citation

Journal Specifications

Crossref Journal DOI 10.17406/GJSFR

Print ISSN 0975-5896

e-ISSN 2249-4626

Keywords
Classification
GJSFR-I Classification: FOR Code: 440102
Version of record

v1.2

Issue date

February 27, 2020

Language

English

Experiance in AR

The methods for personal identification and authentication are no exception.

Read in 3D

The methods for personal identification and authentication are no exception.

Article Matrices
Total Views: 2511
Total Downloads: 1246
2026 Trends
Research Identity (RIN)
Related Research

Published Article

Contemporary art” is universal, but in international commonality, Chinese contemporary art has its specific problems that it faces: this includes scientific falsification and critique of artistic conspiracy and deception, highlighting the contemporary nature of contemporary art’s cognitive function, and connecting relationship with theory and practice, history and logic between contemporary art and artistic phenomenology, such as “world 2,” “practice-spirit” and behavior, installation, etc., thus welcoming the world identity of “cognitive experience” and “spiritual practice.” From the above three parts, the article identifies, “contemporary art” is a view of problem consciousness, concept, and human beings’ independent personality and dignity. On the historical approach and value orientation, she is not only a historical uplift to the function of art cognition but also a historic approach and representation of the era of “cultural experience” and “civilized practice.

Our website is actively being updated, and changes may occur frequently. Please clear your browser cache if needed. For feedback or error reporting, please email [email protected]
×

This Page is Under Development

We are currently updating this article page for a better experience.

Request Access

Please fill out the form below to request access to this research paper. Your request will be reviewed by the editorial or author team.
X

Quote and Order Details

Contact Person

Invoice Address

Notes or Comments

This is the heading

Lorem ipsum dolor sit amet, consectetur adipiscing elit. Ut elit tellus, luctus nec ullamcorper mattis, pulvinar dapibus leo.

High-quality academic research articles on global topics and journals.

The Epistemology of “Contemporary Art” Noumenon

Cheng Yuan
Cheng Yuan

Research Journals