{"title":"Culture of the Chinese revolution: symbolic and semiotic differences from the world culture of revolution","authors":"Qiancheng Dong","doi":"10.1017/s1479591423000141","DOIUrl":null,"url":null,"abstract":"Abstract This article examines images of revolution in Chinese artworks within a global context. It argues that the theme of revolution in Chinese art can be divided into three movements: (1) Art of Scars, (2) New Wave ’85, from which political pop art and cynical realism took their roots, and (3) the modern twenty-first century trend of Mao and the Cultural Revolution. An analysis of political pop art identified a synthesis of academic and iconographic features and Western philosophical concepts, which can be found in the semiotic elements of the painting Maozedong: AO . Its cynical realism is similar to the satire of the American painter in his Daughters of Revolution . Both artworks depict images of the \"citizen\" in an era of historical change. This analysis of the painting in the style of Mao and the Cultural Revolution offers a rethinking of traditional Chinese canons as a response to the Western religious traditions influenced by a multicultural environment. The data can be used as an additional source to examine symbolism and semiotics in the artistic language of Chinese artists representing the culture of revolution.","PeriodicalId":51971,"journal":{"name":"International Journal of Asian Studies","volume":null,"pages":null},"PeriodicalIF":0.5000,"publicationDate":"2023-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"International Journal of Asian Studies","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1017/s1479591423000141","RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"ASIAN STUDIES","Score":null,"Total":0}
引用次数: 0
Abstract
Abstract This article examines images of revolution in Chinese artworks within a global context. It argues that the theme of revolution in Chinese art can be divided into three movements: (1) Art of Scars, (2) New Wave ’85, from which political pop art and cynical realism took their roots, and (3) the modern twenty-first century trend of Mao and the Cultural Revolution. An analysis of political pop art identified a synthesis of academic and iconographic features and Western philosophical concepts, which can be found in the semiotic elements of the painting Maozedong: AO . Its cynical realism is similar to the satire of the American painter in his Daughters of Revolution . Both artworks depict images of the "citizen" in an era of historical change. This analysis of the painting in the style of Mao and the Cultural Revolution offers a rethinking of traditional Chinese canons as a response to the Western religious traditions influenced by a multicultural environment. The data can be used as an additional source to examine symbolism and semiotics in the artistic language of Chinese artists representing the culture of revolution.
期刊介绍:
International Journal of Asian Studies (IJAS) is an interdisciplinary, English-language forum for research in the humanities and social sciences. Its purpose is to foster multi-directional communication among the global Asian studies community. IJAS examines Asia on a regional basis, emphasizing patterns and tendencies that go beyond the borders of individual countries. The editorial committee is particularly interested in interdisciplinary and comparative studies whose arguments are strengthened by rigorous historical analysis. The committee encourages submissions from Asian studies researchers globally, and especially welcomes the opportunity to introduce the work of Asian scholars to an English-language readership.