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Debate on Impressionism in 1957 China

  • Journal of History of Modern Art
  • 2017, (41), pp.163-185
  • DOI : 10.17057/kahoma.2017..41.007
  • Publisher : 현대미술사학회
  • Research Area : Arts and Kinesiology > Art > Arts in general > Art History
  • Received : April 25, 2017
  • Accepted : June 2, 2017
  • Published : June 30, 2017

Ha Yoon Jung 1

1건국대학교

Accredited

ABSTRACT

This study closely examines the articles on Impressionism and reports of Impressionism seminars published in Meishu and Meishuyanjiu before and after 1957 in China. Such analysis is expected to refine our understanding of Chinese art during the Mao Zedong era often viewed one-dimensionally. Impressionism suddenly rose to a heated discussion in the Chinese art scene partly due to Mao’s “Hundred Flowers Campaign” and the exhibition of French art in the Soviet Union in 1956. While fundamentally asking if China ought to allow Impressionism, the leaders of Chinese art mainly focused on three questions: Is Impressionism realism? What are the achievements of Impressionism? How can one evaluate each artist based on accurate information?This paper ultimately suggests that it was possible, though limited, for Chinese people in the mid-1950s to think, discuss, and even create art other than “Red arts” by which the Chinese art during the Mao era is often defined as. The revelation of such possibilities calls for more comprehensive study on the art of this period and reexamination of historical materials previously understudied or neglected.

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This paper was written with support from the National Research Foundation of Korea.
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