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Part III: Response to Society and Lifestyle

After the establishment of the People's Republic of China, the creativity of painters faced many changes. They were expected to paint for the people and society, in a way which was distant from the traditional genre of literati painting. Painters therefore pursued a new style of landscape painting compatible with the social change. This part presents an overview of the unique accomplishments of landscape painting after the establishment of the People's Republic of China, with a focus on representative artists from the four areas of Beijing, Xi'an, Nanjing, and Guangdong.
* To view larger images, click the imeges or title of works.
 

 


The Clarity of the Yellow River
By Fu Baoshi, 1960,
National Art Museum of China
 
Fu Baoshi
 
 

 


The Village of Hongyan

By Qian Songyan, 1961,
National Art Museum of China
 


The Fields in Changshu

By Qian Songyan, 1963,
National Art Museum of China

 


Qian Songyan

 

 

 
Shi Lu
Pine Trees on Mount Huashan
By Shi Lu, 1974, National Art Museum of China
 

 


The Green Great Wall
By Guan Shanyue, 1974,
National Art Museum of China
 
Guan Shanyue

 

 

 

 
He Haixia
Jiuzhai Gorge
By He Haixia, 1996, National Art Museum of China
 

 


A Carefree Journey

By Wu Guanzhong, 1998, National Art Museum of China
 
Wu Guanzhong
 

Part I: The Evolution and Transmission of Tradition
Part II: Rivalry with Western Art Techniques
Part III: Response to Society and Lifestyle

The Twentieth Century for Chinese Landscape Painting: Selected Masterpieces from the National Art Museum of China