By Richard King, Ralph Croizier, Shentian Zheng, Scott Watson
40 years after China's tumultuous Cultural Revolution, this ebook revisits the visible and acting arts of the interval - the work, propaganda posters, political cartoons, sculpture, people arts, inner most sketchbooks, opera, and ballet - and examines what those shiny, militant, usually gaudy photographs intended to artists, their buyers, and their audiences on the time, and what they suggest now, either of their unique varieties and as progressive icons remodeled for a brand new market-oriented age. Chapters by means of students of chinese language background and artwork and by means of artists whose careers have been formed through the Cultural Revolution provide new insights into works that experience transcended their times.
Richard King is the director of the Centre for Asia-Pacific projects and an affiliate professor of chinese language reviews on the collage of Victoria.
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Extra info for Art in Turmoil: The Chinese Cultural Revolution, 1966-76 (Contemporary Chinese Studies)
4) had been published by People’s Art Press between 1962 and 1965. Other Red Guard targets were the Hangzhou oil painting professor Wang Dewei, whose picturesque portrait of Liu Shaoqi’s forest meeting with workers from the timber industry was exhibited in 1964, and the Central Academy of Fine Arts professor Li Qi, who had painted a portrait of Liu in the traditional medium of ink and 37 Julia F. Andrews colour on paper. 20 On 23 May 1967, after a year of destruction, the Cultural Revolution Small Group announced the establishment of a Literature and Arts Group (Wenyizu) directed by Jiang Qing.
As Britta Erickson shows in Chapter 5, the expatriate Chinese artist Cai Guo-Qiang (whose name is given here in the form preferred by him, rather than as the standard pinyin romanization Cai Guoqiang) aroused considerable hostility in China when he appropriated the images of the Rent Collection Courtyard, staging a partial reconstruction of the ensemble at the 1999 Venice Biennale under his own name. The 22 Introduction creators of the original works emerged from their collective anonymity to protest the theft of their intellectual property, though their proposed lawsuit came to nothing.
The most frequently seen, yet transitory, art form of the period may have been the big-character posters (dazibao) handwritten in bold calligraphy to attack the person or policy to be discredited. Young people who had learned the traditional skills of calligraphy were much sought after, urged to turn their talents against their own birthright. Of course, the messages conveyed by the posters were intended to take pride of place, but the somewhat less revolutionary attraction of style seems to have been appreciated as well, as witnessed by the many stories of posters written by wellknown calligraphers disappearing almost as quickly as they were displayed.
Art in Turmoil: The Chinese Cultural Revolution, 1966-76 (Contemporary Chinese Studies) by Richard King, Ralph Croizier, Shentian Zheng, Scott Watson