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Huang claimed that the Cultural Revolution had massive effects on Chinese society because of the extensive use of political slogans. [170] He claimed that slogans played a central role in rallying Party leadership and citizens. For example, the slogan "to rebel is justified" (造反有理; zàofǎn yǒulǐ) affected many views. [170]
Following the Cultural Revolution, art schools and professional organizations were reinstated. Exchanges were set up with groups of foreign artists, and Chinese artists began to experiment with new subjects and techniques.
During the Cultural Revolution, an enormous number of cultural treasures of inestimable value were seriously damaged or destroyed, and the practice of many arts and crafts was prohibited. Since the early 1980s, however, official repudiation of those policies has been complemented by vigorous efforts to renew China's distinct cultural traditions.
New forms of Chinese art were heavily influenced by the New Culture Movement, which adopted Western techniques and employed socialist realism. The Cultural Revolution would shape Chinese art in the 20th century like no other event in history with the Four Olds destruction campaign. Contemporary Chinese artists continue to produce a wide range ...
The Cultural Revolution (1966-1976) had previously sought to purge bourgeois and traditional elements from Chinese society, creating a vacuum that postmodernism, in part, began to fill. [3] [5] [6] The post-Cultural Revolution era saw a resurgence of interest in traditional Chinese culture, as well as an openness to Western cultural influences ...
The group is considered the first self-organized art collective of the Cultural Revolution. [2] At a time when Chinese art in the Mao period, particularly during the Cultural Revolution, turned into pure political propaganda, and normal self-expression and "art for art's sake" practice were forbidden both in institutional settings and for ...
A key trigger in the Cultural Revolution was the publication of a "What are Song Shuo, Lu Ping, and Peng Peiyun up to in the Cultural Revolution" on 25 May 1966, coauthored by seven cadres from Peking University's philosophy department, including Nie Yuanzi (聂元梓; 聶元梓), Song Yixiu, Xia Jianzhi, Yang Keming, Zhao Zhengyi, Gao Yunpeng ...
The Rent Collection Courtyard (Chinese: 收租院; pinyin: shōuzū yuàn) is a clay collection of 114 life-sized sculptures in located in the courtyard of the former home of rural landlord Liu Wencai in Dayi County, Sichuan created by Ye Yushan and a team of sculptors from the Sichuan Academy of Fine Arts in 1965.