派博傳思國際中心

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作者: Clinton    時(shí)間: 2025-3-21 17:33
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作者: Fortuitous    時(shí)間: 2025-3-21 22:17
,Anti-Culture: Art of Cultural Revolution (1966–1976),y period, it was produced art on street (mainly by Red Guards), then it was made in ideological temples, expediting the "God-Building Campaign." However, there were artists who created alterative art during this turbulent age which diverted from the mainstream toward de-ideological or underground ar
作者: 障礙物    時(shí)間: 2025-3-22 02:19
,An Art Hurricane: The Avant-Garde Movement (1985–1989),cies in the movement, namely, Rationalist Painting, Current of Life and Anti-art, which were natural allies of Hermeneutics School, one of the main opinion groups which made up the Cultural Fever, because they shared the goal of subverting hegemonic discourse and building a new and enlightened cultu
作者: esthetician    時(shí)間: 2025-3-22 06:47

作者: 修正案    時(shí)間: 2025-3-22 11:11

作者: 全部逛商店    時(shí)間: 2025-3-22 16:35
Michaela Fenske,Leonore Scholze-Irrlitzrge-scale sculpture created ideological theaters in ppublic space, while propoganda posters helped visualize absurdity. All the arts served proletarian politics and its ideological basis in order to build a visual utopia.
作者: opinionated    時(shí)間: 2025-3-22 17:32
CF Sweat and the Matilda Effectre in China. The historical exhibition ., held in the National Art Museum of China in 1989, summerized the movement and generated a great cultural shock to both Chinese and international audiences through its unplanned actions, including gunshots. This chapter also discusses artworks outside of Action Arts, a critical part of the show.
作者: 惡心    時(shí)間: 2025-3-22 23:38
,Visual Utopia: Art in the Seventeen Years (1949–1966),rge-scale sculpture created ideological theaters in ppublic space, while propoganda posters helped visualize absurdity. All the arts served proletarian politics and its ideological basis in order to build a visual utopia.
作者: 表皮    時(shí)間: 2025-3-23 02:05
,An Art Hurricane: The Avant-Garde Movement (1985–1989),re in China. The historical exhibition ., held in the National Art Museum of China in 1989, summerized the movement and generated a great cultural shock to both Chinese and international audiences through its unplanned actions, including gunshots. This chapter also discusses artworks outside of Action Arts, a critical part of the show.
作者: 痛恨    時(shí)間: 2025-3-23 06:20

作者: 收集    時(shí)間: 2025-3-23 12:44
,Truth, Virtue and Beauty: Art in the Post-Cultural Revolution (1977–1984),As art of the Cultural Revolution generated momentum for artists to bounce back towards a humanistic direction, the art of Post-Cultural Revolution tended to recover truth, virtue and beauty, all of which had been neglected, denied, or repudiated in the revolution. At the same time, vanguard art had begun to sprout.
作者: 氣候    時(shí)間: 2025-3-23 15:36

作者: 座右銘    時(shí)間: 2025-3-23 20:01
Institutionalization and Identity of Contemporary Art (2000-Present), This would be reflected in the appearance of art districts, the boom of art museums, and contemporary art entering art academies. It also saw the development of Maximalism and Way of Ink, Chinese approaches toward contemporaneity. Social or Critical Realism reemerged, and the Feminine Art of the 1990s moved forward to Feminist Art.
作者: 在駕駛    時(shí)間: 2025-3-24 01:23
Michaela Fenske,Leonore Scholze-Irrlitzs and institutions: it became a party-led system constructed to implement communist ideology. It launched the . (Novel New Year’s Prints) Campaign, remodeled . (national painting), and advocated for various phases as applied to oil painting: Humble Realism, Socialist Realism, and Nationalization. La
作者: myopia    時(shí)間: 2025-3-24 04:05

作者: Frenetic    時(shí)間: 2025-3-24 07:41

作者: 蒙太奇    時(shí)間: 2025-3-24 11:38
CF Sweat and the Matilda Effectdirectly to the 1989 Incident in an opportunist or escapist way, building a Chinese art market became a greater goal for some critics and artists. As commercialism and fetishism eroded the art circle, vanguard art, including Conceptual Art, Action Art, Project and Proposal?Art, would make its way th
作者: FATAL    時(shí)間: 2025-3-24 17:11

作者: Gyrate    時(shí)間: 2025-3-24 19:04
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作者: 犬儒主義者    時(shí)間: 2025-3-25 02:36
https://doi.org/10.1007/978-3-476-05449-4y period, it was produced art on street (mainly by Red Guards), then it was made in ideological temples, expediting the "God-Building Campaign." However, there were artists who created alterative art during this turbulent age which diverted from the mainstream toward de-ideological or underground art.
作者: Cardioplegia    時(shí)間: 2025-3-25 03:30
https://doi.org/10.1007/978-3-030-40394-2 This would be reflected in the appearance of art districts, the boom of art museums, and contemporary art entering art academies. It also saw the development of Maximalism and Way of Ink, Chinese approaches toward contemporaneity. Social or Critical Realism reemerged, and the Feminine Art of the 1990s moved forward to Feminist Art.
作者: 繁榮中國    時(shí)間: 2025-3-25 09:49
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作者: conservative    時(shí)間: 2025-3-25 11:38
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作者: deadlock    時(shí)間: 2025-3-25 17:43
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作者: SPER    時(shí)間: 2025-3-25 23:15
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作者: 一回合    時(shí)間: 2025-3-26 01:32
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作者: Decimate    時(shí)間: 2025-3-26 04:50
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作者: Intractable    時(shí)間: 2025-3-26 09:07
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作者: 大酒杯    時(shí)間: 2025-3-26 16:36
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作者: Optometrist    時(shí)間: 2025-3-26 18:19
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作者: ETCH    時(shí)間: 2025-3-26 22:13
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作者: ENDOW    時(shí)間: 2025-3-27 01:13
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作者: Largess    時(shí)間: 2025-3-27 08:19
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作者: 性學(xué)院    時(shí)間: 2025-3-27 11:08
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作者: 成份    時(shí)間: 2025-3-27 15:21
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作者: Obscure    時(shí)間: 2025-3-27 19:19
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作者: mucous-membrane    時(shí)間: 2025-3-27 22:01
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作者: 熱情贊揚(yáng)    時(shí)間: 2025-3-28 05:25
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