Mainstream Shaping And Local Response: A Study Of Art In Northeast China During The "Seventeen Years" Of New China

The art creation in the "seventeen Year" period of New China was gradually developed in a top-down way under the leadership of the state.The mainstream literary and artistic concepts were implemented and the production of works was organized through systems and institutions at various levels.While creating art works matching the literary and artistic concepts of New China,the image of New China was visualized and the mainstream political ideology was presented.During the "seventeen Year" period of New China,the art in Northeast China existed and developed as a whole regional system.On the one hand,from the founding of the People’s Republic of China to 1954,Northeast China was under the unified administration of the central Government as a large administrative region.On the other hand,due to similar geographical,historical and natural factors,the Northeast region has long had similar cultural cognition and psychological identity,which also determines that after the abolition of the Northeast region,the region still maintains close cultural exchanges.These comprehensive factors and the cultural pattern of New China decided that the art in Northeast China during the "Seventeen Year" period was consistent in the process of accepting and giving back to the mainstream literary and art policy.At the same time,because of its own geographical factors,it also showed a unique regional characteristics.This paper takes the painting field that best reflects the typical characteristics of The Times and the case studies of many representative creators as the starting point.Through clearing and determining the subjective content of the art features of Northeast China in this period,it explores the implementation content and interactive relationship of Northeast China’s art to the mainstream literary and artistic concepts.And in this macro situation because of the role of the northeast’s own culture and natural factors,it presents a realistic picture with its own characteristics.The first chapter is the introduction,and the text starts from the second chapter.The second chapter is to sort out the establishment and organization of art system in Northeast China during the "seventeen years" period.In the "Seventeen Year" period,under the unified ideological guidance framework established by the Literary Federation and the Artists Association,the teachers in art colleges and the creators of other art units within the system were the main creative groups.While carrying out creative activities in accordance with the mainstream literary and artistic concepts,the basic system and institutional model of the Northeast region of the period were also constructed.The third chapter,taking the creation of several Chinese painters with typical characteristics of The Times as cases,explores the path of "transformation" and the content of "new Chinese painting" carried out by Chinese painting in Northeast China in accordance with the process of mainstream literary and artistic discourse in that period,and clears out the mainstream subject of "transformation" of Chinese painting by Chinese painters in Northeast China.In the face of their own existing foundation and realistic factors in different levels of the practice of content and response,and clear the regional cultural clues implied in this process.Chapter four,based on the special historical factors and realistic conditions in Northeast China,divides the oil painting creators of this period into two parts.One is the creators who were cultivated through the formal art education of the academy after the founding of New China.Their oil painting language,creation content and form are completely in accordance with the requirements of the mainstream literary discourse,their creation method and content can best represent the Northeast of the period of oil painting on the mainstream of the practice of literary ideas.The other part is the oil painting creators who were influenced by Russian and Japanese painting education before the founding of New China.Due to the historical factors in Northeast China,these oil painters were exposed to modernist paintings after digestion by Russia and Japan either at home or by studying abroad.Under the situation of "transformation" of mainstream literary and artistic discourse,these modernist painting experiences of different schools were presented to their oil painting in the "seventeen year" period in a potential linguistic way due to inertia.The fifth chapter is the analysis and discussion of the development of New Year picture in Northeast China during this period.As the first creation movement led by the national level after the founding of the People’s Republic of China,the New Year painting movement can best reflect the dominant way and shaping effect of mainstream discourse on art creation in this period.Due to the foundation of the New Year painting movement in the Northeast during the Liberation War,the creation time and development degree of New Year painting in the Northeast after the founding of the People’s Republic of China were the first in the whole country.Thus,the participants,the creation language,the content of expression,and the accurate capture and reflection of the current politics were all properly cut into the mainstream literary and artistic discourse.It also presents its own different development characteristics and works in each region of Northeast China.Chapter six discusses the special cases of Northeast China’s response to mainstream literary and artistic discourse in the "Seventeen Year" period.On the one hand,it can enrich the content of Northeast China’s acceptance and response to mainstream literary and artistic discourse in that period;on the other hand,it can also reflect the path and practice of local creative groups’ acceptance of mainstream discourse requirements.