271 Chapters 11 and 111 give us more backgrounds tor the period trom 1914 to 197b against which Li Huasheng's post-Cultural Revolution career is to be told in the second half of the book. The oil painting Mao Inspects the Rivers of Sichuan (Fig. 8), painted in 1972 by Li Huasheng and two other artists, exemplifies the so-called yangban ("model") art (opera, ballet, etc.) promoted by Jiang Qing during the Cultural Revolution. Partially reproduced on the dust jacket in juxtaposition with the 1986 Mountain Dwelling (Fig. 108), painted with ink and color on paper, it also demonstrates the dilemma of many Chinese artists who had to follow "Revolution by Day" but "Tradition by Lamplight", to borrow from the title of Chapter III, during the Cultural Revolution. It was also during the last years of the Cultural Revolution that Li Huasheng had a brief but important encounter with his spiritual teacher Chen Zizhuang, whose life and art are detailed in Chapter IV. The posthumous fame of Chen Zizhuang following an extremely successful exhibition of his paintings at China's National Gallery V(hongguo meishuguan) in Beijing in 1988 typifies the connection between changing artistic fortunes and fluctuating cultural policies in Socialistic
Journal of Asian and African Studies (in 2002 continued as African and Asian Studies) – Brill
Published: Jan 1, 1994
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