Museum Representations of Maoist China: From Cultural Revolution to Commie Kitsch. Amy JaneBarnes. surrey, uk: ashgate, 2014. 265<scp>pp</scp>.

Ho, Denise Y.

doi:10.1111/muan.12145

Cited by 1 publication

(2 citation statements)

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“…The scholars collected and identified theoretical information and constructed a hypothesis about the semiotic perspective and structure manifested in representatives of visual culture. This method helped to group existing views on the main art features and formation of the symbolic and sign system of the revolution art and understand the main trends and influences on the creative process and artistic creativity of painters from different countries, especially China (Goldstone 2016;Ho 2017;Jappy 2022;Lawson 2021).…”

Section: Methodsmentioning

confidence: 99%

“…Since the end of the Cultural Revolution and within the framework of Western perception and comparison with the revolutionary experience of other countries, the culture of the Mao era influenced two areas of science: (1) the representation of revolutionary China in museum studies; and (2) the global reception of Maoism based on the image and iconic symbols of another society and its policies with a wide range of reflections from a Utopian Ideal to a Dystopian Nightmare (Ho 2017).…”

Section: Literature Reviewmentioning

confidence: 99%

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Culture of the Chinese revolution: symbolic and semiotic differences from the world culture of revolution

Dong

2023

International Journal of Asian Studies

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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.

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Section: Methodsmentioning

confidence: 99%

Section: Literature Reviewmentioning

confidence: 99%