After the Republic of China
The art of the Republic of China generally continued the development of the late Qing Dynasty, but the trend of westernization accelerated due to political changes. China began to have painters studying in the West and had direct contact with European paintings, such as Xu Beihong and others. The establishment of a new painting school has also led to the development of the Westernization of Chinese painting.
In contrast, traditional Chinese painting tends to decline because of the attack of intellectuals, such as Kang Youwei's strong criticism of Chinese painting.
In 1931, Lu Xun advocated the launch of China's new woodcut printmaking campaign in Shanghai. Since the day of its birth, the new woodcut has been closely related to the liberation cause of the Chinese nation and connected with the fate of the broad masses of the people. He is an important part of the Chinese revolutionary literature and art and is the main force of art in the Kuomintang area.
The prints of the time appeared as both artists and revolutionaries, using art as a fighting weapon and playing a huge role in the ideological education front. As a result of Lu Xun’s advocacy, the progressive art youth picked up the woodcut knives and organized the woodcut group. In the early spring of 1931, they were expelled and dropped out of the National Hangzhou Art College by Zhang Yi (Yellin) and Yu Hai. Sending Yu), Chen Zhuokun (Chen Guang), Chen Yaotang (Chen Tien Geng) and other people in Shanghai, Zhou Xi (Jiang Feng) and others established the Yiba Art Institute in Shanghai. In June, an exhibition of eight art exhibitions was held on the upper floor of the Hongkou Daily News Agency.
In the late 1940s, the Kuomintang war became fierce and the Kuomintang rule became increasingly authoritarian. In December 1948, Chiang Kai-shek personally ordered the seizure of the "Observation" in Shanghai by the famous celebrity Chu Anping and arrested the "observation" progressives. This is the "Observation" incident in modern history called "the last swan song of modern Chinese liberalism".
Since then, Mr. Wang Zaishi, one of the famous "Seven Gentlemen", has personally come forward to exert pressure on the authorities with his own influence. In February of the following year, he personally guaranteed and rescued several "observation" progressives including artist Zhu Xuanxian from prison.
On May 29, 1949, Liu Kaiqu, Yang Keying, Zhang Leping, (Zheng) Yefu, Pang Xunqi, Zhu Xuanxian, Wen Yutong, Chen Yanqiao, Shao Keeping, Zhao Yannian and other national art pioneers represented the Shanghai art circles in the "Ta Kung Pao" published to liberate the "art workers" declaration". The publication of the "Declaration" marked the opening of a new page in the history of art in the Kuomintang area and the history of modern art in Shanghai.
However, compared with Europe, which has begun a new wave of painting revolution from Impressionism, China's understanding of Western painting still emphasizes the training of classical realism. This kind of training was inherited by the social realism of studying the Soviet Union after the founding of the Chinese Communist Party. On the other hand, through the introduction of the new woodcut prints, it is also a new style that emerged after the Republic of China, which also affected the art development after the founding of the Chinese Communist Party.
After the founding of the People's Republic of China, these two styles of painting dominated China until the 1980s. After the reform and opening up, Western contemporary art entered China in large numbers, affecting the development of Chinese contemporary art.
After Taiwan’s rule in the Kuomintang, art development was affiliated with the education system. It was not until 1955 that there was a national art school dedicated to the cultivation of artistic talent. But during the same period, a group of mainland Chinese painters headed by Li Zhongsheng set up an oriental painting society to try to combine American abstract expressionism with Chinese culture, called modern Chinese painting.
Later in May, the paintings also had similar measures. However, the withdrawal of the "Republic of China" from the United Nations Member States and permanent members in 1971 caused great volatility in Taiwan society. The literary localism that cares for Taiwan has become popular and has affected the development of art. At that time, Shi Dejin described the scenery of Taiwan's countryside and paid attention to the traditional residential buildings in Taiwan and opened up the development of Taiwan's heritage protection.
