title: Chinese peasant painting (nongminhua): history milestones and main production centers
metadata.name: dc.contributor.author
metadata.value: Komarovskaya, Polina A.
metadata.lang: -
metadata.name: dc.date.accessioned
metadata.value: 2017-07-04T14:13:52Z
metadata.lang: -
metadata.name: dc.date.available
metadata.value: 2017-07-04T14:13:52Z
metadata.lang: -
metadata.name: dc.date.issued
metadata.value: 2017-03
metadata.lang: -
metadata.name: dc.identifier.citation
metadata.value: Komarovskaya P. А. Chinese peasant painting (nongminhua): history milestones and main production centers. Vestnik SPbSU. Philosophy and Conflict Studies, 2017, vol. 33, issue 1, pp. 107–114.
metadata.lang: en_GB
metadata.name: dc.identifier.other
metadata.value: 10.21638/11701/spbu17.2017.111
metadata.lang: -
metadata.name: dc.identifier.uri
metadata.value: http://hdl.handle.net/11701/6635
metadata.lang: -
metadata.name: dc.description.abstract
metadata.value: Stylistic transformations of Chinese peasant painting nongminhua is inextricably linked with changes
  in the political life of the CPR. In its development this folk craft passed through three stages, the first
  of which fell during the “Great Leap Forward” period (1958–60). During this time nongminhua existed
  in the form of works of naive propaganda painted as wall murals and later on paper. In the second
  stage, which coincided with the later years of “The Great Proletarian Cultural Revolution” (1966–76),
  nongminhua was produced in the form of political posters in socialist realist style. The ongoing third
  phase, which began during “Reform and Opening Up” period of the 1980s, is characterized by the
  rejection of politicized content and focus on folk art. The author of the present article traces the history
  of some of the most important centers of nongminhua production, which emerged in different periods.
  Earlier, we had already made a prone study of the largest nongminhua production center
  in Huxian county (Shaanxi Province), and in this article we will focus on the history and style of
  other regions. The latter were chosen for the following reasons: Shulu (Hebei Province) and Peixian
  (Jiangsu Province) are important for our research as origin areas of nongminhua, Jinshan (Shanghai)
  is of interest as a centre of the formation of the modern style, and Longmen (Guangdong Province)
  is examined as one of the largest nongminhua production centers at present. Unfortunately, the size
  of the article does not permit to explore a larger number of important centers, so our study will be
  continued in subsequent work. Refs 10. Figs 5.
metadata.lang: en_GB
metadata.name: dc.language.iso
metadata.value: en
metadata.lang: en_GB
metadata.name: dc.publisher
metadata.value: St Petersburg State University
metadata.lang: en_GB
metadata.name: dc.relation.ispartofseries
metadata.value: Vestnik of St Petersburg University. Philosophy and Conflict Studies;Volume 33; Issue 1
metadata.lang: -
metadata.name: dc.subject
metadata.value: China
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: 20–21st centuries
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: Chinese Peasant Painting Nongminhua
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: Artistic Crafts
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: Chinese Peasant Painting Production Centers
metadata.lang: en_GB
metadata.name: dc.title
metadata.value: Chinese peasant painting (nongminhua): history milestones and main production centers
metadata.lang: en_GB
metadata.name: dc.type
metadata.value: Article
metadata.lang: en_GB
resources.filename: 11-Komarovskaya.pdf
resources.url: https://dspace.spbu.ru/bitstream/11701/6635/1/11-Komarovskaya.pdf
resources.format: Adobe PDF
resources.size: 3,02 MB