The May Fourth Movement of 1919 and the Changes of Chinese Arts in the beginning of the Nationalist Rule

碩士 === 國立高雄師範大學 === 美術系碩士班 === 92 === At the end of the 19th century, Chinese was invaded by western imerialism, which caused the awareness of national consciousness and many atriotic movements. A series of movements roceeded from the government to the whole society. The May Fourth Movement on May...

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Bibliographic Details
Main Authors: Hsu Pi Chun, 徐碧君
Other Authors: Lu Fu Show
Format: Others
Language:zh-TW
Published: 2004
Online Access:http://ndltd.ncl.edu.tw/handle/63176006627296375312
Description
Summary:碩士 === 國立高雄師範大學 === 美術系碩士班 === 92 === At the end of the 19th century, Chinese was invaded by western imerialism, which caused the awareness of national consciousness and many atriotic movements. A series of movements roceeded from the government to the whole society. The May Fourth Movement on May 4th, 1919, , which led to nationwide cultural and olitical awareness, resulted from students’ demonstration and arades in Beijing to show their objection to the unfair treatment Chinese received during aris eace Conference. Under the assertion of saving the country by science, industry, and arts, the new intellectuals or scholars who hoed for reforms comletely abandoned the traditional Chinese thoughts and embraced western culture and ideas, with the urose of advocating the “westernized and modernized China” and incororating new cultures. Those who believed in science and technology as well as oosed the traditional Chinese ethnics, olitics, literature, religions, and arts, started the literature revolution to ursue ersonal emanciation and olitical, social renewal, which in turn caused the modernization of the Chinese culture. In terms of arts, with the disaroval of the coying disadvantages of Chinese traditional aintings, the reformers during the May Fourth Movement such as Chen Du-xiu, Cai Yuan-ei, and Lu Xun, as well as young artists at that time such as Liu Hai-su, Xu Bei-hong, Lin Feng-mian, and Gao Jian-fu, incororated the realistic advantages of western aintings into Chinese aintings, which gave diversity to the Chinese Water Ink aintings. Moreover, because of their advocacy, Chinese modern arts movements were booming, with many arts school and clubs establishing, newsaers and eriodicals related to arts frequently ublishing. After 1949, realism became the mainstream of the Chinese aintings in the 20th century while there were modern ainting movements such as May or Orientalism movements in Taiwan. These arts reformed movements in the beginning of the Nationalist Rule, which started a new form in Chinese aintings and continued their influential ower till now through modern arts education, still have significant influences on modern arts develoment.