People's Republic of China Provisional Regulations on Art Import and Export Administration
Datos Bibliográficos
| ID | 4736744 |
|---|---|
| Autores | Pitman Potter, Pitman B Potter (University of British Columbia, autor de correspondencia) |
| Año | 2011 |
| Volumen | 18 |
| Número | 1 |
| Páginas | 131-137 |
| Fecha de publicación | 2011-02-01 |
| Peer Reviewed | Sí |
| Open Access | Sí |
| Tipo | ARTICLE |
| Revista | International Journal of Cultural Property (JOURNAL) |
| Identificadores de la revista | ISSN: 0940-7391 • E-ISSN: 1465-7317 |
| Editorial | Cambridge University Press (CUP) (PUBLISHER) |
| DOI | 10.1017/s0940739111000099 |
| OpenAlex | W2031428735 |
| Idioma | EN |
| Citas recibidas | 1 |
| Referencias citadas | 6 |
China's increased interaction with the global community has led to significant changes in art and artistic expression. The China art market is expanding by leaps and bounds, and artists are subject to an increasingly broad range of influences. Not least of these are the discourses of artistic criticism, with targets that range from international financial institutions to domestic policies. Art in China has for millennia been used as a vehicle for political criticism. Among early examples are the bamboo and landscape paintings of the Yuan dynasty that conveyed a sense of whimsical alienation from the affairs of formal society-implicitly a critique of Mongol rule. During the revolutionary period prior to 1949, the Communist insurgency encouraged painters like Shi Lu to enliven popular resistance to Japanese imperialism and against China's Goumindang rulers
Alienation · Art history · China · Communism · Criticism · Economic history · Painting · Political economy · Political science · Politics · Sociology · Subject (documents · China's Socioeconomic Reforms and Governance · Chinese history and philosophy · Economic Zones and Regional Development · History · Law
| Velocidad de citación | historical |
|---|---|
| Altamente citado | No |