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A HISTORY of ART in 20Th-CENTURY CHINA

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A HISTORY of ART in 20Th-CENTURY CHINA Lü Peng A HISTORY OF ART IN 20th-CENTURY CHINA Cl-IA~TA Contents 11 Translator's Preface to the English Version 197 Gao Jianfu 19 Foreword to the First Chinese Edition 204 Chen Shuren 25 Preface to the Revised Edition 207 Fang Rending 29 Preface to the English Version 33 Preface to the Chinese Version 39 Introduction Chapter 5 215 SCHOOLS AND SOCIETIES 217 Antecedents of Art Education Chapter 1 219 Schools 59 WESTERN INFLUENCE AFTER THE OPIUM WAR 228 Associations 61 Background: Developments in the Late-Ming and Subsequent Years 64 China Trade Paintings Chapter 6 66 lnfluence ofWestern Painters 235 REALISM, CONTROVERSIES, AND PAINTERS 79 Shanghai School 237 The 1929 National Art Exhibition 90 Dianshi Studio Illustrated 240 Xu Beihong 93 Painting Societies 250 Painters 96 The Implications of the Shanghai School 260 Sculpture 98 Tushanwan and Its Influence 262 The Issue of Realism 108 Early Overseas Students Chapter 7 Chapter 2 263 MODERNIST ART, INTELLECTUAL TRENDS, 117 FINE ARTS REVOLUTION AND ENCOUNTERS 119 Cai Yuanpei's Thinking on Art 265 A Poet's Perspective 124 The Emergence of'Fine Arts' 266 Liu Haisu 127 Chen Duxiu 276 Yan Wenliang 130 Unfolding Ideas on Fine Arts 281 Modemist Painters 286 Painters Studying in Japan 293 Taiwanese Painters Studying in Japan Chapter 3 302 Pang Xunqin and the Storm Society 133 THE INTELLECTUAL BACKGROUND AND 306 Storm Society Members EMERGENCE OF CHINESE-STYLE PAINTING 310 China Independent Art Association 135 Background for the Emergence 312 Ideological Trends and Artists of'Chinese-style Painting' (Zhon99uo-hua) 315 Lin Fengmian 138 Fine Arts Historiography and Japanese Influence 325 The Decline of Modernism 139 Traditionalists 141 Chen Shizeng 146 Problems Chapter8 148 The Intellectual Climate as Background 331 LEFT-WING FINE ARTS: MODERNISM'S POLITlCAL ORIENTATION 333 Groups-the Woodcut Study Society Chapter 4 and the Left-Wing League of Artists 155 GUOHUA AND NEW GUOHUA: 342 Lu Xun's Work ART IN THE EXCHANGE OF CIVILIZATIONS 344 Woodcut Groups 158 Huang Binhong 165 Qj Baishi 172 Zhang Daqian Chapter 9 180 Other Traditionalist Painters 355 THE ART AND IDEOLOGY OF YAN'AN 187 Traditionalist Thought, Politics, 357 The Art ofYan'an and Related Ideology 381 Talks at the Yan'an Forum 195 New Guohua Painting: The Lingnan School on Literature and Art Chapter 10 631 The Art of the Cultural Revolution Period: 393 ART IN KMT-RULED AREAS 1966-1976 395 Cartoons and Cartoonists 402 The Third Department and the New Woodcut Organizations Chapter 15 406 Disputes about National Formsand the 689 THE CONTINUING ADVANCE OF MODERNISM: Transition in Wartime 1950-1979 409 Painters and Sculptors 691 The Taiwan Background 414 Painters in the Praxis ofNational Forms 696 The Fifth Moon Group 425 Other Painters 699 Liu Kuo-sung (Liu Guosong) 429 Art of the Civil War Period 707 The Oriental Painting Society 712 The Situation of Modemism 714 The Art of Taiwan in the 197os Chapter 11 719 The Background of Hong Kong 447 1949-1958: ART IN THE PERIOD OF SOCIAL 721 Lui Show Kwan (Lü Shoukun) RECOVERY AND CONSTRUCTIDN 722 Wucius Wong (Wang Wuxie) 449 The General Situation 725 Art and Artists 452 New Pictures for the New Year (New Nianhua) 727 Luis Chan (Chen Fushan) 460 Contamination by Politics 730 Sculptors 474 The Fine Arts Movement of the Worker-Peasant- Soldier Masses 481 Picture-Story Book Illustrations (Lianhuanhua) Chapter 16 483 Woodblock Prints 731 SCAR ART AND THE LIFE-STREAM 733 The Post-1976 Political Background and the Beginnings of Scar Art Chapter 12 741 Sichuan Scar Paintings and Painters 493 THE INFLUENCE OF SOVIET SOCIALIST REALISM 752 The Life-Stream and Chen Danqing AND THE TRANSITION TO THE 'TWD-IN-ONE COMBINATIDN' 495 Issues and Concepts Chapter 17 497 The Soviet Background 761 THEREVOLUTIONINFORM , 500 Leaming from the Soviet Union THE STARS INCIDENT AND MDDERNISM 505 Maksimov's Classes 763 The Revolution in Form 510 The Transition to the Two-in-One Combination 770 'The Stars' Art Exhibition 517 Paintings on CPC History 783 Modemist Painting and Concepts 539 Sculpture 789 The Discussion of Modemism Chapter 13 Chapter 18 545 THE TRANSFORMATION OF GUDHUA 793 THE '85 IDEOLOGICAL TREND AND PAINTERS IN THE TRADITIDNAL ANDTHEPHENOMENDNOFARTGRDUPS CHINESE STYLE 795 The Progressive Chinese Youth Art Exhibition 547 Crisis and Transformation 800 The Debate about Chinese-style Painting 560 The Path ofTransformation 802 The '85 Art Phenomenon 573 Fu Baoshi 805 The '85 Ideological Trends in Philosophy 582 Q!an Songyan 808 Groups 585 Guan Shanyue 591 Li Keran 599 ShiLu Chapter 19 605 Pan Tianshou 833 IMPORTANT GROUPS AND ARTISTS 835 The Northem Art Group and Its Artists 842 New Figurative Art and the Art Groups Chapter 14 of the Southwest 615 CLASS STRUGGLE AND THE ART 848 MaoXuhui OF THE CULTURAL REVOLUTION PERIOD 852 Jiangsu Youth Art Week: Large-Scale Modem Art 617 The Move towards 'Cultural Revolution' Art: Exhibition and the Participating Artists 1959""19'>5 861 The '85 New Space and Its Artists 870 Zhang Peili 1097 The Expansion ofNew Painting 875 Xiamen Dada lllO Zhou Chunya 877 Huang Yongping 881 Gu Wenda 885 Wu Shanzhuan Chapter 25 1115 THE ART OF THE NEW CENTURY 1117 The Shanghai Biennale and the Decline Chapter 20 of the System 889 THE ORIGINS OF THE 'GRAND SOUL' 1124 'Perceptual' Subversion AND THE BIRTH OF THE 'FREE' ARTIST 1130 798 as a Symbol 891 The Question of 'Purified Language' 1136 Exhibitions and Contemporaty Art 896 The Condition of the Zeitgeist 1161 Markets, Capital, and Change against and the 'Grand Soul' the Background of Globalization 900 Xu Bing 902 China/Avant-Garde: China Modem Art Exhibition 1175 APPENDIX 912 The Vagabond Artists 1176 Endnotes 916 Yuanmingyuan Artists Village 1229 Bibliography 1242 List of Illustrations 1267 Index Chapter 21 919 NEW ART AND ARTISTS 921 Background 924 Neo-Academic Art and Exhibitions 928 The New Generation and the New Generation Painters 935 Liu Xiaodong 941 Cynical Realism and Painters 953 Fang Lijun 958 Political Pop and Artists 970 Wang Guangyi 974 GaudyArt 984 Zhang Xiaogang Chapter 22 991 THE BEGINNINGS OF THE MARKET AND THE SHIFT TO INTERNATIONAL STANDARDS 993 Ideology and the Market Question 998 The Guangzhou Biennale 1007 Post-89 Chinese New Art Chapter 23 1015 NEW LITERAT! PAINTING AND EXPERIMENTAL INK AND WASH 1017 New Literati Painting 1026 Experimental Ink and Wash Chapter 24 1037 ART WITHIN PLURALIST STRUCTURES 1039 Conceptual Art and its Derivatives 1062 Video Art 1066 Conceptual Photography 1080 Artistic Questions ofWomen and Women Artists .
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