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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, formally known as the Great Proletarian Cultural Revolution, was a sociopolitical movement in the People's Republic of China (PRC). It was launched by Mao Zedong in 1966 and lasted until 1976. Its stated goal was to preserve Chinese socialism by purging remnants of capitalist and traditional elements from Chinese society.
The operas are often taken by its critics as paradigmatic of the proletarian-dominated art of the Cultural Revolution, and have been condemned by some as an aesthetic and cultural aberration. [12] Author Huo Wang, a citizen in China at the time, wrote in 1998 in reference to the Cultural Revolution era: "Model operas are the only art form left ...
Contemporary Chinese art (Chinese: 中國當代藝術; pinyin: Zhongguo Dangdai Yishu) often referred to as Chinese avant-garde art, continued to develop since the 1980s as an outgrowth of modern art developments post-Cultural Revolution. Han Yajuan: Fashion Ensemble. Oil on canvas, 2010 (180 cm × 360 cm).
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 ...
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.
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 ...
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