THE ART OF THE PEOPLE'S REPUBLIC OF CHINA: 
Recognizing and Establishing China's early Artistic Community 

Due to the continuous influence of western culture into China during the late nineteenth century and early twentieth century, new light was shun on Chinese art. Whereas in the past art was used for more decorative, practical and functional uses [ furniture, religious and philosophical artifacts and manuscripts, vases and pots] Chinese artist began to explore European concepts of personal expression through art and the commuting of ideas. This was during a period when many young Chinese students studied abroad and learnt much about the western culture. During this period the Chinese experienced such things as the introduction of art classes in the school curriculum. There were also art schools, even public museums and galleries. This period, however, was short-lived. 

With the increased interest in Marxist views of the purpose of art many argued that art should serve and reflect society and social reality. Many were against western ideas of art for art sake and argued that the present artistic community would only serve a select few and the bourgeoisie. Also, during the Sino-Japanese war many art schools and museums were bombed and destroyed. Countless artworks and artifacts were lost and many artist fled for their lives, some moving inland, others scattered throughout the country. Some, such as the master of traditional-style painting, Qi Baishi, remained in occupied territory. 

The conclusion of the war in 1945 allowed artists and art teachers to return to the major cities. Artist would reestablish their studios and schools. There was even an art journal which was published called the "China Art Yearbook" which documented the works of 1,760 working artists. Everything from calligraphy and watercolors to sculpture, painting, prints, even photography. The interest in art was so great that between the years 1946 and 1947 there was 152 recorded art exhibitions held throughout the country. Again, this would be another period that would be short-lived. 

During this time the country was experiencing political upheavals and turmoil. The Communists sought to gain control of the country from the Nationalist government. In the end the Communists had won. The village that the Communists occupied during this time was the village of Ya'an. Many artists, especially woodblock printers, resided in Ya'an following the war with the Japanese. These artists including, Chen Tiegeng, Lu Xun,and Huang Xinbo expressed the communist ideal. Their subjects ranged from worker and peasant revolutions to visions of a workers paradise. Whether or not they shared the same views of the Communists is arguable. It is more than likely that they did seeing how they chose to continue to live and work in Ya'an. 

The now established Communists knew of the power and importance of art. They had no intention of suppressing artistic creativity, in fact, they opened their own schools and trained their own teachers. They also continued publishing various art journals and producing and organizing exhibitions. However, this was all kept under a very watchful eye to insure that Communist ideas were upheld and not opposed. This is was not unlike the European middle ages and Renaissance period where Christian ideology was to be upheld. Some still believed in art as a form of self expression and in the western philosophy of art for art sake. These people consisted of artist along with the social elite and bourgeoisie. Their beliefs fell on def ears however, and eventually the Communist vision of art spanned nationwide. 

CHINESE ARTISTS: Communist Views on Art and the Artist 

The artist in the Communist system belongs to the intellectual class. They do not depend on physical labor in order to make a living. They are also more likely to come up with independent ideas. In order to keep such people under control an artist is to give up his status as an intellectual and become part of the working class. Artist are expected to live as and share the same political ideas as the working and peasant class. An artist must experience the life and the political position of the workers and peasants. It is easy for an artist or another form of intellectual to lose sight of the goals of the common man. They may be outspoken concerning " old habits", and "incorrect ideas" of individualism. Intellectuals and artists must be under constant supervision and subjected to programs which will steer them away from the notion of individualism. Private interest are not approved and considered acts of selfishness. One such program took place in 1942 in a forum in Ya'an. There, Mao Zedong put together two, week-long seminars for both artists and writers. The speeches that Mao Zedong delivered not only reflected Marxist views of art, but his very own views as well. 

MAO'S THEORY OF THE ARTS

As mentioned before, most artists from western culture, belong to a specific class. In general they art part of "high society". Mao believed that an artist's work served a purpose. The purpose of art was to serve the masses. An artist had his role in society like any worker, peasant, or soldier. Art should portray and educate the masses. He also took into consideration, that China, over thousands of years, had created countless amounts of outstanding artworks and works of literature. These works were also acceptable as long they could be used to educate and inspire the masses. Masterpieces and great works of literature from around the world could also be viewed and read as long as they were within the Communist guidelines for the arts. All these works must be thoroughly searched for content in order to incorporate it into the everyday life of the people of China. 

Most traditional art, believed Mao did not serve the people. He believed that the true artforms of the people were such things as folk tales and songs and murals. Art must come from the everyday life of the people. Artists should inspire the masses and fill them with hope and visions of prosperity. Art should be used to let people see what they can achieve. 

There is a contradiction however. If art is to represent the everyday life and struggles of the people, why must it fill their heads with visions of a better world. Perhaps what art was to represent was the common ideas that everyone was supposed to share. There was a problem that could arise that did was not overlooked by Mao. Art and literature within these "restraints" may become stagnant. With this system, there would be no need to raise artistic standards. Mao decided that art was to change and evolve in accordance to the change in lives of the people. One should not move ahead of the other. Artistic standards must be raised in the right direction and not alienate itself into it's own distinct class. Art would reflect the popular attitudes that everyone shared. As the country and it's people moved in a different direction, than it's art would follow. This could also work in reverse. To raise the standards of the people, to inspire them to reach farther art would be a useful tool. Art and life would share a unique balance that would be kept under the watchful eye of the government. 

ART IN MODERN CHINESE SOCIETY: Cultural and Artistic Police

The criteria that determines whether an artwork or literary work is acceptable is established by the Department of Propaganda of the Chinese Communist Party. This department works in accordance with the Ministry of Culture in efforts to train and establish professional artists, promote production and creativity and find and teach potential artist and writers. This all goes through series of provincial, municipal and regional surveys. 

Along with the Department of Propaganda of the Chinese Communist Party there is the Chinese Artist's Association. This group includes writers and artists along with Chinese dancers and musicians. Another branch of the Department is the Federation of Literary and Art Circles, which was established under a different name, in 1949. These department help create work and review applicants. 

The artist are skilled in not only traditional Chinese painting but also in various western artforms such oil, watercolor and the graphic arts. There are also sculptures working with wood metal and stone. Unlike western artists, These artist receive a paycheck issued by the state. The state also provides them with work ranging from embroidery to comic book art. Others may be assigned to teach. Some renowned schools are the Central Art Academy in Beijing, the Lu Xun Academy in Shenyang, the Jiangsu Painting Academy in Nanjing, and the Shanghai Chinese Painting Academy. 

Today, throughout China, there are various museums which provide exhibitions. The work nonetheless belongs to the state and not the artist. The works are shown to the public to commemorate the achievements and hand work of the artists living in China.