The Pendulum Motion Between Elitism And Pragmatism

As a prominent exhibition and sales event for domestic products during the Republican era,the 1929 West Lake Expo was held in response to the emergence and growth of the pragmatic exposition mechanism in China,introduced from the West.This not only catered to the global trends of "utilitarianism" and "pragmatism" from the late19 th to the entire 20 th century,but also exemplified China’s strategy of self-development by adopting Western methods following the "Self-Strengthening Movement" in pursuit of wealth and power.Artist,art educator,and government art official Lin Fengmian participated in the West Lake Expo with high expectations.This seemingly unreasonable aspect actually concerns the contemporary understanding of fine art concepts and exposition mechanisms,which differs from today’s perspective.With the evolution of the "painting" concept and the introduction of "fine art" notions,Chinese fine art gradually exhibited a shift from "instrumentalization" to "instrumentality." This transition also implied a "rupture" in modern Chinese fine art from the traditional elite painting scholars.The concept of "practicality" in art education was continuously emphasized,and the exposition mechanism displayed a fusion of "practicality" and "spirituality." Revisiting the historical context of the West Lake Expo,we explore the focus on "practicality" issues when artists,art school teachers,and students participated in the exposition.Lin Fengmian’s "return to elitism" practice in the West Lake Expo was both represented through art works and hampered by complex power networks during the preparation and curation process.Moreover,the "pragmatism" of the exposition and the "elitism" of art in the West Lake Expo showcased an "interplay of concepts." Lin Fengmian and others could not fully reconcile the practical mechanism characteristics with the elite artistic ideals within the exposition.In modern Chinese fine art,the concept of "pure fine art" was progressively redefined and separated from "applied art," either naturally or artificially.This distinction was validated through expositions and exhibitions,while both were integrated into art education on equal terms.The underlying logic followed in this process mirrors the interaction between "elitism" and "pragmatism," much like a pendulum in motion.