지원사업
학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
커뮤니티
연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
초록· 키워드
오류제보하기
The period of time between the end of the Cultural Revolution (CR) in 1976 and 1985 is considered the Post-Cultural Revolution (後文革) era. The main goal of modern art in this period was to right the wrongs of the CR, while conceptually art was still very much influenced by the tradition of realism. Two major tends in realist painting emerged in art academies. ‘Scar Painting’, which principally described the calamities and spiritual wounds caused by CR, and‘Rustic Realism’, which sought to express a humanistic feeling by depicting ordinary peasants. The most distressing theme of the‘Scar Painting’ was the violence between factions of young Red Guards as we can see in Cheng Conglin’s〈Snow on a certain Day of 1968〉(Fig. 2). The painters of the‘Rustic Realism’ adopted photorealist approach. Luo Zhongli’s〈Father〉creates an image of an old man by using the skill of photorealist (Fig. 7). A wrinkled and weather-beaten face and his sad eye tell the viewer to pay heed the ignored realities of real life with backbreaking work.
The extraordinary range of experiences undergone by the young artists of the period are reflected in a painting by“The Stars, Xingxing (星星)”. These amateur artists in their twenties were mostly self taught artists. They were united nothing less than a vision of bringing a new art to the people, free from the political dictates that strapped Socialist Realism to propaganda. On September 27, 1979 the group held an unofficial and groundbreaking show of their art in the small park outside the National Museum of Fine Art Beijing. On the forty-meter long iron railing in the park neatly hung about 150 works by twenty four artists. Despite the positive feedback from the audience, the exhibition was shut down by the police. The Stars staged a demonstration, arriving in front of the Beijing Municipal Party Committee (Fig. 15). The government granted The Stars permission to have an exhibition at the National Museum of Fine Art Beijing the following year.
Their works showed in two exhibitions attracted public attention by highly abstract style and socio-critical message, which was forbidden in the Period of CR. Wang Keping’s〈Blind and Silent〉has a face with one eye patched over and a cork in its mouth, the image of all the Chinese people who has been oppressed (Fig. 16). Ma Desheng’s woodcut print〈A Rest〉depicted a peasant returning home from his hard farm work (Fig. 17). The awkward arbitrary strokes and the heavy contrast between white and black background recall the cutting style of Kaethe Kollwitz. The leather factory laborer, Huang Ru’s〈Seamstresses in a street production unit〉shows his interest on Cubism in the using of abstractly divided color surfaces, while the ink painting of Bao Yun〈At the Beginning of a Century〉indicate his acquaintance with Abstract Expressionism in his calligraphic ink brush strokes (Fig. 19, 22).
Despite the affirmative reaction of the audience, some Articles and exhibition reviews in art magazines called their work“too derivative”and“incomprehensible to the masses”. The Stars lost their space for exhibitions, 1983 onwards the members of The Stars had to moved to USA, France and Japan.
The extraordinary range of experiences undergone by the young artists of the period are reflected in a painting by“The Stars, Xingxing (星星)”. These amateur artists in their twenties were mostly self taught artists. They were united nothing less than a vision of bringing a new art to the people, free from the political dictates that strapped Socialist Realism to propaganda. On September 27, 1979 the group held an unofficial and groundbreaking show of their art in the small park outside the National Museum of Fine Art Beijing. On the forty-meter long iron railing in the park neatly hung about 150 works by twenty four artists. Despite the positive feedback from the audience, the exhibition was shut down by the police. The Stars staged a demonstration, arriving in front of the Beijing Municipal Party Committee (Fig. 15). The government granted The Stars permission to have an exhibition at the National Museum of Fine Art Beijing the following year.
Their works showed in two exhibitions attracted public attention by highly abstract style and socio-critical message, which was forbidden in the Period of CR. Wang Keping’s〈Blind and Silent〉has a face with one eye patched over and a cork in its mouth, the image of all the Chinese people who has been oppressed (Fig. 16). Ma Desheng’s woodcut print〈A Rest〉depicted a peasant returning home from his hard farm work (Fig. 17). The awkward arbitrary strokes and the heavy contrast between white and black background recall the cutting style of Kaethe Kollwitz. The leather factory laborer, Huang Ru’s〈Seamstresses in a street production unit〉shows his interest on Cubism in the using of abstractly divided color surfaces, while the ink painting of Bao Yun〈At the Beginning of a Century〉indicate his acquaintance with Abstract Expressionism in his calligraphic ink brush strokes (Fig. 19, 22).
Despite the affirmative reaction of the audience, some Articles and exhibition reviews in art magazines called their work“too derivative”and“incomprehensible to the masses”. The Stars lost their space for exhibitions, 1983 onwards the members of The Stars had to moved to USA, France and Japan.
목차
Ⅰ. 서론
Ⅱ. 後文革시대 미술계 동향
Ⅲ. 星星畵會의 성립과 전개
Ⅳ. 결론
참고문헌
〈Abstract〉
참고문헌 (0)
참고문헌 신청함께 읽어보면 좋을 논문
논문 유사도에 따라 DBpia 가 추천하는 논문입니다. 함께 보면 좋을 연관 논문을 확인해보세요!
-
아이웨이웨이(艾未未)의 초기 회화 연구
미술사연구
2020 .06
-
일제강점기 李王家의 미술 후원 : 英親王을 중심으로
미술사연구
2015 .12
-
1950년대의 한국미술(1), 제1공화국 미술의 태동과 진통
미술사논단
2015 .06
-
민국기 중국의 전국미술전람회 설치와 일본
한국근현대미술사학
2013 .12
-
한국근현대미술사에서 제도에 관한 연구의 검토
한국근현대미술사학
2012 .12
-
Stars of the river Milky Way
International Invitation Exhibition of Color Works
2018 .11
-
[특집 03] 중국 ‘정치 팝 아트(政治波普藝術)’의 형성과 전개
한국근현대미술사학
2012 .06
-
전람회 시대 : 『京城日報』(1906~1945)의 미술자료
미술사논단
2014 .06
-
1980년대 신표현주의와 ‘시대정신(Zeitgeist)’ : 《시대정신전 Zeitgeist Ausstellung》의 미술사적 의미와 한계
서양미술사학회논문집
2003 .06
-
1980년 전후 유럽 내의 독일 미술 전시들, 무엇을 어떻게 무대에 올렸는가?
현대미술학 논문집
2007 .12
-
의도된 民族性, 官展 臺灣鄕土色 硏究
미술사논단
2001 .12
-
Glocalization 시대의 현대미술
현대미술학 논문집
2006 .12
-
미국의 한국 근현대미술 연구사
한국근현대미술사학
2012 .12
-
전시와 권력: 1960~1970년대 한국 현대미술에 작용한 권력
미술이론과 현장
2005 .01
-
《대한민국미술전람회》의 추상 아카데미즘
한국근현대미술사학
2018 .07
-
「인간가족 The Family of Man」전의 이면 : 아메리카니즘의 정치적 선전
현대미술사연구
2008 .12
-
한국 근대 여성의 서화교육과 작가활동 연구
미술사학
2006 .08
-
미술의 공공성을 둘러싼 경합의 위상학 : 일본에서의 미술가·비평가 탄생에 대한 재해석
한국근현대미술사학
2009 .12
-
《When Attitudes Become Form》, 1969년 아방가르드 미술의 집결장
서양미술사학회논문집
2003 .06
이 논문의 저자 정보
이 논문과 함께 이용한 논문
최근 본 자료
댓글(0)
0
UCI(KEPA) : I410-ECN-0101-2012-650-004014769