By Richard King, Ralph Croizier, Shentian Zheng, Scott Watson
40 years after China's tumultuous Cultural Revolution, this e-book revisits the visible and acting arts of the interval - the work, propaganda posters, political cartoons, sculpture, folks arts, deepest sketchbooks, opera, and ballet - and examines what those vivid, militant, usually gaudy pictures intended to artists, their consumers, and their audiences on the time, and what they suggest now, either of their unique kinds and as innovative icons transformed for a brand new market-oriented age. Chapters by way of students of chinese language background and artwork and via artists whose careers have been formed by means of the Cultural Revolution supply new insights into works that experience transcended their times.
Richard King is the director of the Centre for Asia-Pacific tasks and an affiliate professor of chinese language reviews on the college of Victoria.
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Extra resources for Art in Turmoil: The Chinese Cultural Revolution, 1966-76 (Contemporary Chinese Studies)
In May an exhibition of paintings by the Proletarian Cultural Revolution Red Painting Guard was held at the former Rongbaozhai Gallery. 21 Five days later, eighty rebel units opened an even larger exhibition, called Long Live the Victory of Mao Zedong Thought Revolutionary Painting Exhibition, at the National Art Gallery, in honour of the twenty-ﬁfth anniversary of the Yan’an Talks. 22 Soon after, Art Storm issued an attack on the Beijing Chinese Painting Institute, which had been founded in 1957 to preserve China’s endangered traditional art, for being a “royal academy” run by Deng Xiaoping and Liu Shaoqi.
2. This version was painted collaboratively for the 1972 national art exhibition by senior artists Hou Yimin, Deng Shu, Jin Shangyi, Zhan Jianjun, Luo Gongliu, Yuan Hao, and Yang Lin’gui. Collection of Wang Mingxian. 2), published in February of 1968 but painted slightly earlier, commemorated the event. Mao, dressed in a military uniform, strides across a stone bridge in front of the old palace to shake the hands of his young supporters on Tian’anmen Square. The demonstrators are a carefully varied group of student Red Guards, workers, and soldiers of both genders.
The art of the Cultural Revolution may be divided into two periods that correspond with the political history of the movement. The ﬁrst period lasted from its outbreak in 1966 until the mysterious death of Mao’s chosen successor Lin Biao, killed as he and his family tried to ﬂee China by air in September of 1971. This phase produced visual art primarily focused on destroying the old culture and system, and on codifying the cult of Mao, in whose name the destruction was carried out. Much of this art was ephemeral, consisting of cartoons, drawings, gouache drafts, or woodcuts produced for broadsheets or posters.