During the war against Japan, from 1937 to 1945, educated artists deployed imagery and styles drawn from folk art in morale-boosting propaganda images, but worried that this work fell short of true artistic accomplishment and pandering to ...
Author: Felicity Lufkin
Publisher: Lexington Books
Folk art is now widely recognized as an integral part of the modern Chinese cultural heritage, but in the early twentieth century, awareness of folk art as a distinct category in the visual arts was new. Internationally, intellectuals in different countries used folk arts to affirm national identity and cultural continuity in the midst of the changes of the modern era. In China, artists, critics and educators likewise saw folk art as a potentially valuable resource: perhaps it could be a fresh source of cultural inspiration and energy, representing the authentic voice of the people in contrast to what could be seen as the limited and elitist classical tradition. At the same time, many Chinese intellectuals also saw folk art as a problem: they believed that folk art, as it was, promoted superstitious and backward ideas that were incompatible with modernization and progress. In either case, folk art was too important to be left in the hands of the folk: educated artists and researchers felt a responsibility intervene, to reform folk art and create new popular art forms that would better serve the needs of the modern nation. In the early 1930s, folk art began to figure in the debates on social role of art and artists that were waged in the pages of the Chinese press, the first major exhibition of folk art was held in Hangzhou, and the new print movement claimed the print as a popular artistic medium while, for the most part, declaring its distance from contemporary folk printmaking practices. During the war against Japan, from 1937 to 1945, educated artists deployed imagery and styles drawn from folk art in morale-boosting propaganda images, but worried that this work fell short of true artistic accomplishment and pandering to outmoded tastes. The questions raised in interaction with folk art during this pivotal period, questions about heritage, about the social position of art, and the exercise of cultural authority continue to resonate into the present day.
2 (2004): 123–59; Felicity Lufkin, Folk Art and Modern Culture in Republican
China (Lanham, MD: Lexington Books, 2016), 143–87. 34. Rebecca E. Karl,
Staging the World: Chinese Nationalism at the Turn of the Twentieth Century (
Author: Christine I. Ho
Drawing from Life explores revolutionary drawing and sketching in the early People's Republic of China (1949-1965) in order to discover how artists created a national form of socialist realism. Tracing the development of seminal works by the major painters Xu Beihong, Wang Shikuo, Li Keran, Li Xiongcai, Dong Xiwen, and Fu Baoshi, author Christine I. Ho reconstructs how artists grappled with the representational politics of a nascent socialist art. The divergent approaches, styles, and genres presented in this study reveal an art world that is both heterogeneous and cosmopolitan. Through a history of artistic practices in pursuit of Maoist cultural ambitions--to forge new registers of experience, new structures of feeling, and new aesthetic communities--this original book argues that socialist Chinese art presents a critical, alternative vision for global modernism.
Her interest in the cultural politics of art initially led her to study the art of twentieth
-century China. She is the author of Folk Art and Modern Culture in Republican
China (Lexington Books, 2016), which considers how left-wing activists and ...
Author: Hinda Mandell
Publisher: Rowman & Littlefield Publishers
Pussyhats, typically crafted with yarn, quite literally created a sea of pink the day after Donald J. Trump became the 45th president of the United States in January 2017, as the inaugural Women’s March unfolded throughout the U.S., and sister cities globally. But there was nothing new about women crafting as a means of dissent. Crafting Dissent: Handicraft as Protest from the American Revolution to the Pussyhats is the first book that demonstrates how craft, typically involving the manipulation of yarn, thread and fabric, has also been used as a subversive tool throughout history and up to the present day, to push back against government policy and social norms that crafters perceive to be harmful to them, their bodies, their families, their ideals relating to equality and human rights, and their aspirations. At the heart of the book is an exploration for how craft is used by citizens to engage with the rhetoric and policy shaping their country’s public sphere. The book is divided into three sections: "Crafting Histories," Politics of Craft," and "Crafting Cultural Conversations." Three features make this a unique contribution to the field of craft activism and history: The inclusion of diverse contributors from a global perspective (including from England, Ireland, India, New Zealand, Australia) Essay formats including photo essays, personal essays and scholarly investigations The variety of professional backgrounds among the book’s contributors, including academics, museum curators, art therapists, small business owners, provocateurs, artists and makers. This book explains that while handicraft and craft-motivated activism may appear to be all the rage and “of the moment,” a long thread reveals its roots as far back as the founding of American Democracy, and at key turning points throughout the history of nations throughout the world.
On attitudes towards folk art in modern China, and on high art practices which
adopt folk idioms, see Felicity Lufkin, Folk Art and Modern Culture in Republican
China (Lanham, MD: Lexington Books, 2016). On the Soviet influence on
Author: David Clarke
Publisher: Hong Kong University Press
China—Art—Modernity provides a critical introduction to modern and contemporary Chinese art as a whole. It illuminates what is distinctive and significant about the rich range of art created during the tumultuous period of Chinese history from the end of Imperial rule to the present day. The story of Chinese art in the twentieth and twenty-first centuries is shown to be deeply intertwined with that of the country’s broader socio-political development, with art serving both as a tool for the creation of a new national culture and as a means for critiquing the forms that culture has taken. The book’s approach is inclusive. In addition to treating art within the Chinese Mainland itself during the Republican and Communist eras, for instance, it also looks at the art of colonial Hong Kong, Taiwan and the Chinese diaspora. Similarly, it gives equal prominence to artists employing tools and idioms of indigenous Chinese origin and those who engage with international styles and contemporary media. In this way it writes China into the global story of modern art as a whole at a moment in intellectual history when Western-centred stories of modern and contemporary culture are finally being recognized as parochial and inadequate. Assuming no previous background knowledge of Chinese history and culture, this concise yet comprehensive and richly-illustrated book will appeal to those who already have an established interest in modern Chinese art and those for whom this is a novel topic. It will be of particular value to students of Chinese art or modern art in general, but it is also for those in the wider reading public with a curiosity about modern China. At a time when that country has become a major actor on the world stage in all sorts of ways, accessible sources of information concerning its modern visual culture are nevertheless surprisingly scarce. As a consequence, a fully nuanced picture of China’s place in the modern world remains elusive. China—Art—Modernity is a timely remedy for that situation. ‘Here is a book that offers a comprehensive account of the dizzying transformations of Chinese art and society in the twentieth and twenty-first centuries. Breaking free of conventional dichotomies between traditional and modern, Chinese and Western that have hobbled earlier studies, Clarke’s highly original book is exactly what I would assign my own students. Anyone eager to understand developments in China within the global history of modern art should read this book.’ —Robert E. Harrist Jr., Columbia University ‘Clarke’s book presents a critically astute mapping of the arts of modern and contemporary China. It highlights the significance of urban and industrial contexts, migration, diasporas and the margins of the mainland, while imaginatively seeking to inscribe its subject into the broader story of modern art. A timely and reliable intervention—and indispensable for the student and non-specialist reader.’ —Shane McCausland, SOAS University of London
Modern China 17 (3): 299Y341. Little, S., S. Eichman, P. Ebrey, K. Schipper, N. S.
Steinhardt and H. Wu 2000. Taoism and the arts of China. Chicago: The Art
Institute of Chicago. LufNin, F. 2016. Folk art and modern culture in Republican ...
Author: Robert Layton
Publisher: Cambridge Scholars Publishing
The anthropology of art in China includes studies of popular arts among the Han in both rural and urban settings, and of folk arts among minority peoples. The country is currently experiencing rapid social change and aesthetic values are being transformed. Chinese scholars have both an exciting range of dramatic case studies to present and their own distinctive theories to offer on these processes. This volume is the first to present an overview of the anthropology of art in China to researchers in the English-speaking world. The essays are written by leading Chinese professors in the fields of visual art, dance, music and art theory.
San Francisco : Chinese Culture Foundation of San Francisco ; 1984 , Chuang ,
Shen . “ Art and Politics : Study of a Special Relationship in Contemporary
Chinese Painting . ” In Twentieth ... Painters and Politics in the People ' s
Republic of China . Berkeley ... Chinese Folk Art : The Small Skills of Carving
Insects . Boston ...
Author: Julia Frances Andrews
Between 1850 and today, China has undergone an unprecedented series of shocks and transformations. Published to accompany an exhibition at the Guggenheum Museum, this book systematically explores 150 years of artistic production in China.
To this day , the New Culture movement has not really succeeded , and their
outcry has long since died out . ... of those intellectuals who were genuinely
concerned with the wellbeing of national culture , the vernacular language , and
folk arts . ... On the contrary , the " folk ” resided very much at the heart of the mass
urban culture of Republican China that would later become the ... modern
Author: Patrick Hanan
Publisher: Harvard Univ Council on East Asian
The goal of this volume is to consider the relationship of writing to materiality in China's literary history and to ponder the physical aspects of the production and circulation of writing.
The modern Chinese nation - state established during the republican period was
short - lived . ... In terms of culture , Marxist theorists , such as Qu Qiubai ( 1899 -
1935 ) , considered folk art to be the truest representation of the Chinese people
Author: Anna Brzyski
Publisher: Duke University Press Books
Case studies that counter the idea of a transcendent art canon by demonstrating that the content of any and every canon is historically and culturally specific.
The New Politics of Culture Associate Professor of Political Science Richard Curt
Kraus, Richard Curt Kraus. 2 . ... Paul Bady , “ The Modern Chinese ... For an
overview of the arts economy in the republican period , see Li Xiangmin ,
Zhongguo yishu jingji shi [ “ An economic history of Chinese arts " ) ( Nanjing ...
Show Concern for Folk Artists , Help Folk Artists , ” Guangming ribao ( November
11 , 1956 ) .
Author: Associate Professor of Political Science Richard Curt Kraus
Publisher: Rowman & Littlefield Pub Incorporated
Arguing that cultural reform is a key aspect of political reform, Richard Kraus shows here that China's economic transformation has dramatically liberated the production and consumption of culture. In this original and provocative study, Kraus offers a political analysis of Chinese culture that includes all genres of art. Surveying the evolution of China's cultural politics between 1979 and 2003, this book explores the complex relationship between money and art as exemplified by declining state arts patronage, changing standards for painting nudity, censorship, and the professionalization of artistic work. Cogent, witty, and deeply informed, this comprehensive overview of the Chinese arts scene will be an essential text for all observers of contemporary China. Visit our website for sample chapters!
In fact , in the modern history of Naxi society , before the emergence of the
Modern Dongba Painting School , traditional dongba religious painting was only
transmitted among dongba priests , and was regarded as a kind of folk art . ... The
ensembles playing Baisha Music in Lijiang had the most difficult times during the
period of the Republic of China ( 1912 – 1949 ) , because ... For many centuries
now , mainstream Chinese culture and art have had a strong influence on Naxi
Author: Charles Fremont McKhann
Catalogue to accompany exhibitions held at Sheehan Gallery, Whitman College, January 17-February 27, 2003; Carnegie Center for the Arts, Walla Walla, Washington, April 1-April 30, 2003; Collins Gallery, Multnomah County Library, Portland, Oregon, May 3-June 15, 2003, and Jacob Lawrence Gallery, University of Washington School of Art, July 1-July 30, 2003.
6 This movement in China had a double impetus : not only was it a logical
extension of the “ art for life ” movement to promote the practical and applied arts
for national glory , it also promoted national economic rejuvenation through
consumer culture . ... movement in Republican China had several sources , a
major one being the contemporaneous European modern ... European Romantic
tradition in the arts , including interests in folk arts , “ Oriental ” trends , and
nationalistic revivals .
Author: Sherman Cochran
Publisher: Cornell East Asia Series
The contributors to this collection of seven essays (plus an editor's introduction and a comparative afterword) have framed debates about the construction of commercial culture in China. They all have agreed that during the early twentieth century China's commercial culture was centered in the private sector of Shanghai's economy and especially in the concession areas under Western or Japanese rule, but they have differed over the issue of whether foreign influence was decisive in the creation of Shanghai's commercial culture. Between 1900 and 1937, was Shanghai's commercial culture imported from the West or invented locally? And between 1937 and 1945, was the history of this commercial culture cut short by Japanese military invasions and occupations of the city or was it sustained throughout the war? The contributors have proposed various and even conflicting answers to these questions, and their interpretations bear upon wider debates in historical, cultural, and comparative studies.
Public and Private Culture in Chinese Art Periodicals, 1912-1937 Carol Lynne
Waara ... As introduced in the last chapter , the popularization of gongyi meishu
in the periodical press was a major focus of artist - entrepreneurs in the
Republican Chinese modernization project . ... The European modern movement
, also influenced by the Romantic tradition in the arts , including interests in folk
arts , the ...
Author: Carol Lynne Waara
My primary sources are the art periodicals themselves, documents on the history of periodical publishing and printing in China, memoirs, and biographies. I focus on two specific magazines edited by the major artists and critics of the day and exemplary of the two decades framing this study: Zhenxiang huabao (The True Record) (1912-1913), a prototype Chinese pictorial, and Meishu shenghuo (Arts and Life) (1934-37), a rich spectacle of art, news, and features. A third magazine, Liang you (Young Companion) (1926-1941), one of the most popular Republican era pictorials, is analyzed comparatively with the two arts magazines.