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The Chinese Communist Pary(CCR) publicly announced ‘Cultural Revolution(CR) caused the Chinese people a lot of damage’ in 1981, but CR had been in a controversy continuously. Because of political prohibition, the public research about CR had been limited so far, but the recent materials released from the inside and critical studies have tried. From early 20c, Chinese art had been subordinate to CCR as a propaganda, but the Post-Cultural Revolution era, it started a free creative activity. The period of time between the end of the CR in 1976 and 1985 is considered the Post-Cultural Revolution(後文革, 1976-1985) era.
‘Scar Painting’ and ‘Serial Pictures Gazette(連環畫)’, which principally described the calamities and spiritual wounds caused by CR, were considered influenced by the tradition of realism. Like all artists of their generation, these students had seen the ideals with which they had been indoctrinated as children smashed by the political turmoil of their adolescence. In this article, I want to concentrate on the ‘Memory’ which the Scar Painter sought to express from their direct experience during CR. For example, Gao Xiaohua’s painting 〈Why?〉(fig. 6) depicts the carnage following a Red Guard’s battle during CR. Cheng Conglin’s 〈Snow on a certain Day of 1968〉(fig. 7) also delineate the violence between factions of young Red Guards.
The main faces of these painting look scared and confused. I called these feeling as an “empathic unsettlement” according to an American-born historian Dominique Lacapra. The empathic unsettlement is very important concept because their affectivity showed ‘Impossibilities of Representation’ of CR. Not till then did we can ask the important question, ‘What CR really was?’ A US historian Arif Dirlik said CR is very ambiguous case during long chinese history.
However, Deng Xiaoping’s government wanted to rearrange CR’s historical review for easy settlement of stabilization of the regime. The artworks in 《The 6th National art exhibition for 30years》 showed overly expressed sadness, grief and disaster, for example Xia Peiwei and Jian Congmin’s 〈You are always alive in our mind〉(fig. 9). Among these works, even the Scar Painting seemed being easy to oversimplify the CR involved. But CR was kind of revolutionary act, although the result was very miserable. When we learn from the lessons of CR, chinese artist can be free from political repression.
‘Scar Painting’ and ‘Serial Pictures Gazette(連環畫)’, which principally described the calamities and spiritual wounds caused by CR, were considered influenced by the tradition of realism. Like all artists of their generation, these students had seen the ideals with which they had been indoctrinated as children smashed by the political turmoil of their adolescence. In this article, I want to concentrate on the ‘Memory’ which the Scar Painter sought to express from their direct experience during CR. For example, Gao Xiaohua’s painting 〈Why?〉(fig. 6) depicts the carnage following a Red Guard’s battle during CR. Cheng Conglin’s 〈Snow on a certain Day of 1968〉(fig. 7) also delineate the violence between factions of young Red Guards.
The main faces of these painting look scared and confused. I called these feeling as an “empathic unsettlement” according to an American-born historian Dominique Lacapra. The empathic unsettlement is very important concept because their affectivity showed ‘Impossibilities of Representation’ of CR. Not till then did we can ask the important question, ‘What CR really was?’ A US historian Arif Dirlik said CR is very ambiguous case during long chinese history.
However, Deng Xiaoping’s government wanted to rearrange CR’s historical review for easy settlement of stabilization of the regime. The artworks in 《The 6th National art exhibition for 30years》 showed overly expressed sadness, grief and disaster, for example Xia Peiwei and Jian Congmin’s 〈You are always alive in our mind〉(fig. 9). Among these works, even the Scar Painting seemed being easy to oversimplify the CR involved. But CR was kind of revolutionary act, although the result was very miserable. When we learn from the lessons of CR, chinese artist can be free from political repression.
목차
Ⅰ. 들어가는 말
Ⅱ. 증언으로서의 상흔미술
Ⅲ. 국가주도 전람회와 정치적 기억
Ⅳ. 나가는 말
참고문헌
Abstract
참고문헌 (34)
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UCI(KEPA) : I410-ECN-0101-2017-605-001156710