Image Of Peasant Art In New China

As a visual symbol of peasants’ image, the sociological interpretation, ideological analysis,the type summarized and viewpoint study, is the several aspects depend on the current academicstudy. However, each method and angles of examining issues is revealed the problems as wellas it masks some other problems inevitably shield. Thus, it is possible to seek anothertheoretical perspective for this article to be different theoretical analysis of peasants’ image.This article will along with “The Modernity of Chinese art” and trail back to the historicalcontext of the image production, which formation mechanism of peasants’ image has evolved indifferent historical periods. Meanwhile, this article based on the current research of the“Chinese art and national image”, to study the interrelation between peasants’ image andnational image in the new Chinese art history. In other words, the starting point of this paper isnot research “what kind of peasants’ image was been created in that era”, but research “whatcharacterize of the art symbol system has been done”.This paper is divided into four parts:Introduction, it overviewed of the current status of the academic which has study thepeasants’ image. With theoretical perspectives, we are summarized and classified the academicachievement. In another aspect, we outlined the research methods and research significance.In the first chapter, we have analyzed the conduct of peasants’ image in the “SeventeenYears” and the “Cultural Revolution” decade, and interpreted the relationship between “theimage of the socialist new farmers” and the national image. It’s indicated that the old image hasfinished and a new image of has been shaping, and a new peasants’ image: socialist newpeasants, has been built, which is portrayed as a new ideographic symbols in the opposite ofChinese/Western, Ancient/Modern, carrying the era of human imagination and practice.The second chapter, we have discussed special situation of the peasants’ image in Chineseart history as a perspective of “modernity” in the1980s, described the image of the visualsymbol of the farmers which encountered contradiction and paradox. In the cultural context ofthe1980s, the Chinese modern art in the Traditional/Modern, Chinese/Western dualismpresented a quite means. Nevertheless, the peasants’ image in the1980s highlighted differences means in each other with the Mao era art. As a perspective of the Modern Chinese Art in the1980s, we can interpret interactive relationship for peasants’ image in depth from the plasticwith other-plastic between imagination and practice, and then grasp the symbolic meaning inthe historical context among1980s.The third chapter, we have discussed the new “usage” and “meaning” about peasants’image in the context of a particular era were facing. In the global context of the1990s, the“post-colonial discourse” and transnational capital for Chinese art selection mechanism showedcharacteristics as a wide diversity of images, perspective and aesthetic demands complicatedwith the expression of peasants’ image since the1990s, and constituted a new Chinese arthistory depict in peasants’ image building.In conclusion, this paper issued personal views in the current historical context andAnalyzed ideological function and symbolic representation expounded by peasants’ image.Among globalization, the West is still the dominant power to own meaningful “vision” and“fun” to watch the art of other nation-states. How to communicate with each other in the artisticworld, is the most important problem. Here, it is impossible simply to pursue their own“national” character just talking to themselves. However, to access the international context andcommunicate with the West, we have to enter the “whole”, and then said our “story”.