Issue #131 Emotional Patterns in Art in Post-1949 China, Part II: Internality and Transcendence

Emotional Patterns in Art in Post-1949 China, Part II: Internality and Transcendence

Su Wei

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Zhao Yu (赵域), Land Reform and Collectivization, ca. 1948.

Issue #131
November 2022










Notes
1

Zhang Anzhi, Collected Writings on Art by Zhang Anzhi (Renmin meishu chubanshe, 1999), 29.

2

Zhang Anzhi, “A Brief Discussion on Portraiture—After Viewing a Portrait Exhibition,” in Collected Writings on Art by Zhang Anzhi, 22.

3

Anzhi, “A Brief Discussion on Portraiture,” 49.

4

For debate on Xu Beihong’s vision of a Chinese painting and creative method that fused China and the West, see Wan Xinhua, “A Discussion of the Teaching of Chinese Painting in the Department of Art, Normal College of the National Central University” in Art for Life: Collected Art Writings of Xu Beihong’s Students, ed. China National Academy of Painting (Zijincheng chubanshe, 2010).

5

Symphonies of Color: Famous 20th Century Oil Painter Wu Dezu, ed. Wu Weishan (Wenhua yishu chubanshe, 2018), 210.

6

Symphonies of Color, 303.

7

The Path of China’s Modern Art, ed. Pan Gongkai (Beijing daxue chubanshe, 2012), 354–57.

8

The Path of China’s Modern Art, 382.

9

Selected Writings of Wu Zuoren (Anhui meishu chubanshe, 1988), 144.

10

Selected Writings of Wu Zuoren, 154.

11

Qu Baiyin, “A Monologue on Film Innovation,” Film Art, 1962, 55.

12

See Qin Suquan, “The Complete Story of ‘Innovation Monologue,’” Film Art, 1999, 5.

13

Wang Hui, Depoliticized Politics: The End of the Short 20th Century and the 1990s (Shenghuo/du shu/xin zhi, Sanlian shudian, 2008), 18.







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