Earticle

초록

영어

As the great catastrophe in the modern and contemporary history of China, the Cultural Revolution(CR) is an object, which must have sutured the past of darkness. At the same time it is a continuous event and also a scar of memory. In other words, for history is “a dialog between the past and the reality”(E.H.Kar), CR intervenes in the reality and, on the contrary, the reality recomposes CR. From this point of view, CR is a historical event, which so far is not ended, and it is an object of memory, which is still being composed at the moment. As the saying: “Poetry is greater than history”(Aristoteles), artistic works more intensively reflect the past. The works related to CR can not be an exception. And CR is endlessly exposed in the contemporary Chinese fine arts and the works of the contemporary Chinese artists—Wang Guangyi, Yue Minjun, Zhang Xiaogang and others are proved to be those who suffer from the trauma of CR and who feel no liberty from CR. For example, CR probably is a symbol showing the “identity” of the Chinese artists. And the diversity of the symbol is the experience and pattern of the dialog between artistic works and CR (i.e., intervention in reality). For example, with withering of grand-narrative and appearance of micronarrative, the CR critical works of Guan Zhoudao were the root of the Chinese fine arts in the late 70s and early 80s. In the contemporary cultural situation, the literary works about CR actively analyzed the history (CR) from the personal point of views and explained in the way of monolog and micro-method led the 1990s’ works. In this way they tried to recompose the history “randomly”, like looking at reality with their own eyes. In this process, CR is continuously exposing new features and the real facts are appearing before us as unfamiliar phenomena. This is a way of combination and “reappearance” of contemporary arts and reality. In conclusion, the purpose of this article is to make it possible to see a section of the contemporary Chinese fine arts through the study of the icon image of CR and to analyze the way of fine arts recomposing the history and the intervening in the reality. In this sense, the author has entitled the article “Icon and Form”. It means how to reshape (the present) the typically formed icon of the CR (the past).

목차

I. 머리말: 역사로서의 문혁과 문혁의 재구성으로서의 예술작품
 II. 거대서사로서 관주도의 문혁 비판 작품
  1. 정치-선전화, 그 게임의 논리
  2. 집단적인 상처를 재현·봉합하는 상흔미술
  3. 거대담론, 그 이후
 III. 미시서사로서 문혁도상을 사용한 중국당대미술 작품분석
  1. 1980년대 말 1990년대 초 문화지각변동
  2. 문혁도상, 그 진지함을 거스르기: 왕광이(王广義)의 작품과 그 분절
  3. 홍위병, 그 역사를 소비하기: 위에민쥔(岳敏君)의 작품과 그 분절
  4. 홍위병, 그 기억을 불러들이기: 장샤오강(張暁剛)의 작품과 그 분절
 IV. 맺는말: 문혁관련 예술작품, 어제와 오늘의 끝없는 대화
 참고문헌 Bibliography
 Abstract

키워드

저자

• 이영일 [ Li, Yongri | 중국·연변대학교 미술대학교 ]

참고문헌

발행기관

간행물

표지보기 관심저널 등록

• 간행물명

  미술이론과 현장 [The Journal of Art Theory & Practice]

• 간기

  반년간

• pISSN

  1738-1789

• eISSN

  2508-3538

• 수록기간

  2003~2025

• 등재여부

  KCI 등재

• 십진분류

  KDC 601 DDC 701