後文革시대(1977~1984)의 중국현대미술 = 星星畵會를 중심으로

다국어 초록 (Multilingual Abstract)

The period of time between the end of the Cultural Revolution (CR) in 1976 and 1985 is considered the Post-Cultural Revolution (後文革) era. The main goal of modern art in this period was to right the wrongs of the CR, while conceptually art was still very much influenced by the tradition of realism. Two major tends in realist painting emerged in art academies. ‘Scar Painting’, which principally described the calamities and spiritual wounds caused by CR, and‘Rustic Realism’, which sought to express a humanistic feeling by depicting ordinary peasants. The most distressing theme of the‘Scar Painting’ was the violence between factions of young Red Guards as we can see in Cheng Conglin’s〈Snow on a certain Day of 1968〉(Fig. 2). The painters of the‘Rustic Realism’ adopted photorealist approach. Luo Zhongli’s〈Father〉creates an image of an old man by using the skill of photorealist (Fig. 7). A wrinkled and weather-beaten face and his sad eye tell the viewer to pay heed the ignored realities of real life with backbreaking work.
The extraordinary range of experiences undergone by the young artists of the period are reflected in a painting by“The Stars, Xingxing (星星)”. These amateur artists in their twenties were mostly self taught artists. They were united nothing less than a vision of bringing a new art to the people, free from the political dictates that strapped Socialist Realism to propaganda. On September 27, 1979 the group held an unofficial and groundbreaking show of their art in the small park outside the National Museum of Fine Art Beijing. On the forty-meter long iron railing in the park neatly hung about 150 works by twenty four artists. Despite the positive feedback from the audience, the exhibition was shut down by the police. The Stars staged a demonstration, arriving in front of the Beijing Municipal Party Committee (Fig. 15). The government granted The Stars permission to have an exhibition at the National Museum of Fine Art Beijing the following year.
Their works showed in two exhibitions attracted public attention by highly abstract style and socio-critical message, which was forbidden in the Period of CR. Wang Keping’s〈Blind and Silent〉has a face with one eye patched over and a cork in its mouth, the image of all the Chinese people who has been oppressed (Fig. 16). Ma Desheng’s woodcut print〈A Rest〉depicted a peasant returning home from his hard farm work (Fig. 17). The awkward arbitrary strokes and the heavy contrast between white and black background recall the cutting style of Kaethe Kollwitz. The leather factory laborer, Huang Ru’s〈Seamstresses in a street production unit〉shows his interest on Cubism in the using of abstractly divided color surfaces, while the ink painting of Bao Yun〈At the Beginning of a Century〉indicate his acquaintance with Abstract Expressionism in his calligraphic ink brush strokes (Fig. 19, 22).
Despite the affirmative reaction of the audience, some Articles and exhibition reviews in art magazines called their work“too derivative”and“incomprehensible to the masses”. The Stars lost their space for exhibitions, 1983 onwards the members of The Stars had to moved to USA, France and Japan.

목차 (Table of Contents)

• Ⅰ. 서론
• Ⅱ. 後文革시대 미술계 동향
• Ⅲ. 星星畵會의 성립과 전개
• Ⅳ. 결론
• 참고문헌
• 〈Abstract〉