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sanzida aktar
Jul 13, 2022
In Welcome to the Forum
I recently had the opportunity to go to the countryside and felt strongly about China’s progress in the field of art. In 2012, I went to Xishuangbanna, Yunnan, to exchange views and observe the development of local minority art. At that time, China’s intangible cultural heritage was starting; I came back after eight years. In China, with the introduction of my colleagues from the Academy of Fine Arts, I got to know many mainland artists through the Internet. At this time, China's intangible cultural heritage continued to grow. In less than ten years, the development and progress of the Chinese art world was faster than I realized. , it is not a linear growth, but a diversified photo background removing development, especially for the records of rural and rural issues, the quality has made a great leap forward. Chinese contemporary young and strong artists have experienced the baptism of the era of economic reform, liberated many taboo topics that could not be discussed or dared to think before, and conveyed their inner depression through various artistic carriers, for the bottom of the society, for the disadvantaged, and for their own Vitality seeks an outlet to be understood. Among them, the concern for "peasants" has always been a major part of this type of creation, because for many artists from rural areas, "peasants" are not only the public, but also the reflection of their own experiences. For example, Tang Yongli (1951-), Duan Zhengqu (1958-), Jin Weihong (1967-) and others are good at portraying the bottom and disadvantaged groups in society. These people are naturally superior in talent, and then they become professional artists through academy training. In contrast, there are another group of amateur artists with the same talent, such as Chen Fulin and Cao Xiuwen . Although they have not gone through academy training, they can also create eye-opening works. These paintings are called "peasant paintings" in the mainland. Known for its sim
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