The Politics of Painting: Ha Qiongwen
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Art and propaganda have a curious relationship. This paper looks at this relationship by examining a number of items as they appear in any discussion revolving around painting, politics, and the Chinese state. In particular, the paper looks at "art and the concept of the people", "art and ritual", "the nation-state, art, and propaganda", "art and revolution", and "hybridity" (in the sense that Qiongwen's painting can be interpreted as an example of the uneasy marriage between Chinese indigenous culture and foreign influences). As one can quickly see, several of these concepts can easily overlap and, in fact, they do overlap during the course of the paper. The paper also appends a second section detailing why the writer is so interested in the work of Ha Qiongwen, how his work facilitates a better understanding of various aspects of the relationship between cultural production and art (within the broader context of politics and art) and whether or not the aforementioned artist informs or even reflects the social mores of the writer and/or his social interests/understandings.
From the Paper:"In the final analysis, Ha Qiongwen endures as a simple of just how effective modern visual arts propaganda has been within the world's most populous nation."
Cite this Term Paper:
The Politics of Painting: Ha Qiongwen (2006, December 01) Retrieved November 27, 2020, from https://www.academon.com/term-paper/the-politics-of-painting-ha-qiongwen-129244/
"The Politics of Painting: Ha Qiongwen" 01 December 2006. Web. 27 November. 2020. <https://www.academon.com/term-paper/the-politics-of-painting-ha-qiongwen-129244/>