The Revolution Of1911and Guangdong Painters

The1911Revolution, which kicked off the history of China’s Modern Revolution, is the most inspiring, ambiguous and intriguing research subject of China’s political and cultural intellectual history of early20th century. Moderate and radical, compromise and antagonism, rationality and irrationality, strong political strategy and weak political belief, these are contradictory rhetoric but they are quite fit when describing the1911Revolution. The reason lies in that there exist substantial connections between Chinese politics and social cultural ideas around the1911Revolution. To put it another way, due to this close connection, despite the phenomenon that disciplinary boundaries have been broken constantly nowadays, the investigation of the1911Revolution has still revealed such features as subtle but rich, or even heterogeneous to clarify in more knowledge dimensions today. Consequently, after comprehending the cognitive concepts of Value Dualism, we are unable to give an accurate evaluation of the meaning of the1911Revolution at present. Historical research has brought the possibility of new interpretation, especially with the increasing intrinsic sympathy of researchers, which attaches the1911Resolution with such features as charming tragic and idealism.Undoubtedly, nowadays, our political logic and ideological situations have retained some influence from the1911Revolution. In the intellectual and thought circles, researchers usually regard the1911Revolution as the basic point of reflecting China’s modern political ideology. It is also the origin of how we can re-recognize the political and cultural ideological trend since the beginning of20th century. In addition, the following issues are worthwhile to further explore, which include how to understand the multiple clues around the1911Resolution and how to evaluate the influence of the1911Resolution in different aspects.The political upheaval of the1911Revolution has produced some influence on the art activities of the group of Guangdong painters in early20th century, which is the main focus of this paper. The basic content in the study of art history contains art history research papers from conventional sense, which requires attention on the biographical study, painting ideology and artistic creation of artists. Besides, the research perspective of Stylistic by western scholars form the modern sense also constitutes part of study of art history. Since20th century, the study of art history, which serves as part of history of ideas, has enriched the research areas of art history subject and improved its value of openness. The analytical methods established by the study of art history include Artistic Sociology, Iconography, Visual Cultural Studies, Artistic Anthropology and so on. As a result, the study of art history is no longer limited to the traditional knowledge pedigree; instead, it allows the researchers to assess its meaning of existence from broader political, social and cultural situations. The narrative conception of this paper is mainly based on the Artistic Sociology Theory. On the basis of organization of original material, this paper strives to explain the historical circumstance as well as the process of participating the1911Revolution by the group Guangdong painters. When the resolution which is full of frustration failed, what kind of impact has been brought to the painting ideology of those painters, this issue would also be addressed in this paper.This rest paper is organized as follows. The first chapter illustrates the social and cultural background in late Qing Dynasty, when the Guangdong Painters accept the revolutionary ideas. The situation of participating in creation of illustrated and dissemination of revolutionary ideas by Guangdong painters before the1911Revolution is introduced in the second chapter. The third chapter discusses the change in painting ideas of Guangdong painters after the1911Revolution, which gives rise to divergence between the new and the traditional Chinese painting. In the fourth chapter, this paper presents the Guangdong painters in the1920s under the background of the late period of the1911Revolution which is the New Culture Movement, the conflicts and connections between the new and the traditional Chinese painting in painting activities and painting ideology will also be discussed.