This study argues that folk art entered the modern discourse on Chinese visual arts as an object of both pride and shame and describes how ideas about folk art were articulated in the pivotal period of the 1930s and 1940s.
This study argues that folk art entered the modern discourse on Chinese visual arts as an object of both pride and shame and describes how ideas about folk art were articulated in the pivotal period of the 1930s and 1940s.
Felicity Lufkin is lecturer in folklore and mythology at Harvard University.
Inhaltsangabe
Introduction: Art, Folk Art, and the Modern Nation Part I: Folk Art and National Culture in the Nanjing Decade Chapter 1: Imagining Folk Art in Urban China Chapter 2: Prints as a Popular Art: Folk Prints and New Prints Chapter 3: The Folkloric Prints of the Modern Print Association Chapter 4: The Folk Picture Exhibition Part II: Folk Art and Propaganda in the Anti-Japanese War Chapter 5: Resistance Door Gods in the Nationalist Areas Chapter 6: Popularizing Prints in the Communist Base areas Chapter 7: Folk-style and visual rhetoric in and beyond Yan'an
Introduction: Art, Folk Art, and the Modern Nation Part I: Folk Art and National Culture in the Nanjing Decade Chapter 1: Imagining Folk Art in Urban China Chapter 2: Prints as a Popular Art: Folk Prints and New Prints Chapter 3: The Folkloric Prints of the Modern Print Association Chapter 4: The Folk Picture Exhibition Part II: Folk Art and Propaganda in the Anti-Japanese War Chapter 5: Resistance Door Gods in the Nationalist Areas Chapter 6: Popularizing Prints in the Communist Base areas Chapter 7: Folk-style and visual rhetoric in and beyond Yan'an
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