By Richard King et al. (eds.)
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Extra resources for Art in turmoil : the Chinese Cultural Revolution, 1966-76
Many of the leading masters of this genre were on the Central Academy of Fine Arts faculty – Qi Baishi (who had died by this time) and the senior professors Ye Qianyu, Li Keran, and Li Kuchan. Most old artists were under surveillance and were prohibited from painting during these years. 24 In some instances, a faction would spirit away works of art or even people to be criticized and hide them from opposing 38 The Art of the Cultural Revolution groups. At the height of the factional struggles in 1967, opposing Red Guard groups at the Central Academy of Fine Arts occupied the two largest buildings on campus as forts.
In that sense, just as the cultural images of traditional China continued to haunt Mao and his standard-bearer Jiang Qing as they attempted to build a new revolutionary culture, these ghosts of the Cultural Revolution persist in post-socialist China. The study of the art of the Cultural Revolution, both for what it meant then and what it continues to mean, remains an important undertaking. Nine New Takes on the Cultural Revolution The chapters in this book shed light on the arts of the Cultural Revolution, their creators, and their changing meaning from the time of their production to the early years of the twenty-ﬁrst century.
1 incorporates the new tenets of socialist realism with the simplicity of the folk-inspired Yan’an style. Many of the published images from the early years of the Cultural Revolution were painted for one of the many Red Guard–organized exhibitions. Red Guards, inspired by the cult of Mao Zedong and guided by Jiang Qing, set out to construct a new pictorial history for the People’s Republic of 42 The Art of the Cultural Revolution China – one that dramatized Mao’s revolutionary role and minimized that of most other communist leaders.